Le projet politique de l’Unité Populaire, sous la direction de Salvador Allende, propose une transformation révolutionnaire, politique, économique et sociale au Chili pour avancer vers le socialisme à la manière chilienne, c’est-à dire de manière pacifique, démocratique et respectueuse de la légalité. Un projet qui fait de la question de l’indépendance, notamment de l’indépendance économique un de ses principaux objectifs. Indépendance qui était aussi une des principales préoccupations des nationalistes chiliens du début du XXe siècle. Ce travail a pour objectif de montrer que ce nationalisme a laissé son empreinte entre autres, dans le projet politique de l’Unité Populaire. / The political project of the Popular Unity, led by Salvador Allende, proposes a revolutionary, political, economical and social transformation in Chile toward socialism the Chilean way, that is to say peaceful, democratic and respectful of the law. The project sets the issue of independence, particularly that of economic independence, as one of its main goals. Independence was also one of the main concerns of Chilean nationalists at the beginning of the 20th Century. This work aims to show that this nationalism has left its mark, among others, in the political project of the Popular Unity.

The aim of this monograph is to demonstrate the probable transgressions of Eliza Sommers who is the protagonist of The fortunes daughter (1999) written by the Chilean writer Isabel Allende. This novel is the base for our work and it was written in the postboom framework there we can evidently observe the strength of the feminist’s characters. Through investigating the model of conducts that was current by the chronological time the novel is based and by using the adequate theoretical model for this analysis we will either demonstrate or refuse our hypothesis. With this goal in mind and this theoretical framework we will try to explain the diversity of terms but principally patriarchy, feminism and stereotypes. Raising a few different questions helped us to come to the conclusion that all the transgressions the protagonist has been going through just helped her to get a better life as a woman, without hinders and in freedom.

Thesis (B.A.)--Bi-College (Haverford and Bryn Mawr Colleges) Comparative Literature Program, 2004. / Includes bibliographical references.

In this study, we interpret Isabel Allende's La casa de los espiritus as a microcosm that portrays a patriarchal society. Our purpose is to study the underlying principles that support this patriarchal order and examine the mechanisms that perpetuate it and repress the potential for change. The objective is then to analyze the main female characters since they constitute a subversive presence which is constantly challenging the patriarchal order and which is potentially capable of transforming it. Our goal is also to demonstrate that the writing of the female characters undermine patriarchal discourse. Our final objective is to examine the novel in the context of two "histories": the consecrated male history which is deconstructed here and the extra-official or alternative one that tradition silences and that is represented here by the writing of the female characters.

Le Parti communiste chilien était un parti pragmatique, manipulateur, qui a soutenu la voie pacifique jusqu’au bout, a rejeté la voie armée comme moyen de lutte politique et a maîtrisé à la perfection les règles du jeu politique. Mais, dans le même temps, il a été un parti discipliné, hiérarchisé, fidèle aux directives de l’URSS. Le PCCh n’était pas un parti « comme les autres », car il devait faire face aux tensions constantes existant au sein de la pratique et du discours entre les dimensions sociétale, qui se construisait à partir et dans la configuration politique et sociale chilienne, et téléologique, issue de l’appartenance au monde communiste. Notre travail a rendu compte d’un PCCh contradictoire, multiple qui n’a pas été un satellite de Moscou. Au contraire, son action politique a été déterminée par un habitus démocratique, où ensemble de modes et de comportements acquis qui résultent de l’internalisation de l’ensemble des règles du système politique liées au régime démocratique, et des structures sociales objectives à travers l’expérience du Parti. À partir de la construction et de la consolidation de cet habitus démocratique ainsi que de la confrontation des principes démocratiques à la pratique du PCCh lorsqu’il gagne la Présidence de la république au sein de l’alliance de l’Unité populaire, on a observé que cet habitus démocratique a été construit et consolidé par les choix des dirigeants du Parti en époques et configurations distinctes, ce qui a déterminé que la pratique du PCCh ait été en accord avec les principes démocratiques du régime. Ainsi, créditeur d’un savoir-faire politique particulier qui l’a différencié des autres partis communistes d’Amérique latine, le PCCh a contribué à maintenir en vigueur le système des pratiques et les représentations du régime démocratique chilien et a réussi à occuper une place privilégiée au sein de l’ordre politique chilien. / The Chilean Communist Party [PCCh] was a pragmatic, manipulating party that sustained the pacific way until the very last minute, which rejected the armed path as a politic option and perfectly mastered the rules of the political game. But at the same time, it has always a disciplined party, with a rigid hierarchy and loyal to the URSS. The PCCh “wasn’t a party like the others”, in the sense that he must face constant internal pressure among a social dimension and a theological dimension. This work relates to a contradictory actor in the political scene, which didn’t stand as a simple satellite of Moscow orders. In fact, their political action was determined by a democratic habitus which behavior results of a deep understanding of the rules played on the political arena, and the social structures learned through the party’s experience. The construction and further consolidation of this habitus, and the confrontation of the democratic principles when the party reached the Presidency of the Nation [as a member of the Popular Unity Alliance], showed us how these democratic habits grew inside the PCCh et how this democratic habitus was built by the successive PCCh leaders, at different times and scenarios, because the PCCh’s practices were closely aligned with the democratic principles. In that way, and holding this particular political know-how which differenced them from the rest of the Latin American communist parties, the PCCh contributed to sustain a practice-based system and the representations of the democratic Chilean regime, reaching a privileged place in the Chilean political order.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-10-28T08:57:00Z No. of bitstreams: 1 Fabio Monteiro.pdf: 2601128 bytes, checksum: 725015f051dbf7ae1a1c0ef6c7400a9c (MD5) / Made available in DSpace on 2016-10-28T08:57:00Z (GMT). No. of bitstreams: 1 Fabio Monteiro.pdf: 2601128 bytes, checksum: 725015f051dbf7ae1a1c0ef6c7400a9c (MD5) Previous issue date: 2016-08-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Salvador Allende is a documentary released in 2003 by Patricio Guzmán. It is proposed as a biopic of personal life and political career of former Chilean democratically elected president in September 1970 by a multi-party composition of the left, the Unidade Popular. In defense of a legal and democratic path to socialism, the Allende government achieved successes both in political and economic area, but at the same time had to face the decisive intervention of the right sectors that relied on massive Unite States investment in overthrowing their government. Salvador Allende was the founder and leader of the Chilean Socialist Party and won the presidential election after three successive election campaigns. Its government base, the Unidade Popular, was composed by sector representatives not only of the Socialist Party, but also communists, center-left sectors and sectors of the radical left. This plural political arrangement was a decisive factor in defining the direction of the Government Allende crisis. After the visit of Fidel Castro in December 1971, the reactionary sectors have adopted media strategies and tactics increasingly decisive policies that culminated in the military coup of September 11, 1973. The release of the film Salvador Allende took the events around the thirty years of the military coup to reconstruct this history. Taking into account that every movie involves choices as the definition of interviews, certain sound interventions, songs and archival footage and different narrative strategies, this thesis collates historical arguments brought by the film with a consolidated bibliography on the subject / Lançado em 2003, o filme Salvador Allende, de Patricio Guzmán, propõe-se como uma cinebiografia da vida pessoal e carreira política do ex-presidente chileno eleito democraticamente em setembro de 1970 por uma composição multipartidária de esquerda, a Unidade Popular. Na defesa de uma via legal e democrática rumo ao socialismo, o Governo Allende obteve êxitos tanto na área política quanto econômica, mas ao mesmo tempo teve que enfrentar as decisivas intervenções dos setores da direita que contavam com investimentos maciços dos Estados Unidos na derrubada de seu governo. De formação multifacetada, Salvador Allende foi fundador e líder do Partido Socialista chileno e venceu as eleições presidenciais após três sucessivas campanhas eleitorais. A sua base de governo, a Unidade Popular, era composta por setores representantes não só do Partido Socialistas, mas também comunistas, setores de centro-esquerda e setores da esquerda radical. Esse arranjo político plural foi um fator decisivo na definição dos rumos da crise do Governo Allende. Após a visita de Fidel Castro em dezembro de 1971, os setores reacionários adotaram estratégias midiáticas e táticas políticas cada vez mais decisivas que culminam no golpe militar de onze de setembro de 1973. O lançamento do filme Salvador Allende se vale das efemérides em torno dos trinta anos do golpe militar para reconstituir essa história. Levando em conta que todo filme envolve escolhas como a definição de entrevistados, determinadas intervenções sonoras, canções e imagens de arquivo e diversas estratégias narrativas, a presente dissertação coteja os argumentos históricos ensejados pelo filme com uma bibliografia consolidada sobre o tema

Thesis advisor: Kathy A. Lee / In this paper I examine the characteristics of exile as they appear in Isabel Allende's novels The House of the Spirits, Daughter of Fortune and Portrait in Sepia. I argue that each of her protagonists is in exile and seeks identity through the act of writing. The impact of external factors on the exile, such as setting, movement, and family, is minimal in comparison to the effect of writing on her protagonists. Allende, herself an exile, finds identity through writing, and her protagonists do the same. / Thesis (BA) — Boston College, 2004. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: English. / Discipline: College Honors Program.

In this thesis I have searched for and analyzed possible mechanisms of domination and strategies for resistance in the novel La isla bajo el mar by Isabel Allende. This was done with a post-colonial and feminist perspective, focusing on the structural divisions that can be found within these frameworks and using binary oppositions to identify different unequal power relations. These oppositions showed me the unjust structures that are being present in the novel, and made it easier to identify the mechanisms used to oppress certain groups of people. After identifying the mechanisms of oppression, I could also point out the strategies of resistance used by Teté, the main character, and oppressed groups together to resist this domination and the power of the norms in society.

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