Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-05-08T11:33:15Z No. of bitstreams: 1 Jussaramar da Silva.pdf: 2370521 bytes, checksum: 37bbc5a72b0346472d4366ee888da000 (MD5) / Made available in DSpace on 2017-05-08T11:33:15Z (GMT). No. of bitstreams: 1 Jussaramar da Silva.pdf: 2370521 bytes, checksum: 37bbc5a72b0346472d4366ee888da000 (MD5) Previous issue date: 2017-04-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis deals with the repressive connections in the Southern Cone between the 1960s and 1990s, looking at how these countries have transformed their security systems into what can be called a singular repressive system, based on the articulation between agents and unity in Modus operandi adopted among various nations of this sub-continent, creating the practice of State Terror. Such connection merged the Counterrevolutionary War Doctrine with the National Security Doctrines, both practiced by external orientation, either French, or North American; Creating an International System of Repression. The strategies and tactics adopted in the persecutory actions against the "internal enemy" prove this connection; Demonstrating the financing of National States with this practice through the creation of training centers in order to standardize such actions or with the involvement of military attachés, whose most terrifying face is evident in the extermination practices, torture and extrajudicial actions that involved The official armed forces or their illegal arms, such as paramilitaries and death squads / Esta tese versa sobre as conexões repressivas no Cone Sul entre as décadas de 1960 a 1990, verificando como esses países transformaram seus sistemas de segurança no que se pode denominar um sistema repressivo no singular, tendo como fundamento a articulação entre os agentes e a unidade no modus operandi adotado entre as diversas nações deste sub-continente, criando a prática do Terror de Estado. Tal conexão fundiu a Doutrina de Guerra Contrarrevolucionária com as Doutrinas de Segurança Nacional, ambas praticadas por orientação externa, seja francesa, seja norte-americana; criando um Sistema Internacional de Repressão. As estratégias e táticas adotadas nas ações persecutórias contra o “inimigo interno” comprovam tal conexão; demonstrando o financiamento dos Estados Nacionais com tal prática, através da criação de escolas de formação, a fim de uniformizar tais ações, ou com o envolvimento de adidos militares, cuja face mais tenebrosa se evidencia nas práticas de extermínio, torturas e ações extrajudiciais que envolveram as forças armadas oficiais ou seus braços ilegais, como paramilitares e esquadrões da morte

Marta Traba (1923-1983), écrivaine et critique d’art argentino-colombienne, est principalement connue en Amérique latine pour ses écrits critiques, son engagement pour le développement de l’art moderne en Colombie, et plus largement pour sa « théorie de la résistance » qui prône dans les arts plastiques une défense des identités culturelles latino-américaines. Son œuvre littéraire, en revanche, est beaucoup moins connue. Or, elle est non seulement très riche, mais elle forme le pendant narratif à son œuvre critique, un ensemble de récits innervés, de manière plus ou moins profonde, des conceptions et de la culture trabiennes sur l’art. Il s’agit dès lors de reconsidérer ces deux pans de sa production écrite comme un tout cohérent, et de montrer les influences et les interactions entre sa critique d’art et sa littérature, mais également entre les arts plastiques qui forment sa culture artistique et ses écrits fictionnels. Il apparaît alors que Marta Traba conçoit et pratique son écriture critique comme une écriture « littérarisée » et, réciproquement et surtout, sa littérature comme une littérature « artialisée » : la valorisation constante du regard esthétique sur le monde et d’une sensorialité exacerbée dessine un idéal de contemplation tout au long de son œuvre littéraire ; les insertions continues d’une terminologie critique et de références aux œuvres d’art, sur un mode tantôt clairement didactique, tantôt subtilement ludique, invitent le lecteur à lire ses fictions et poèmes au prisme du sous-texte artistique qui enrichit leur sens ; enfin, le récit devient le lieu d’expérimentation des théories trabiennes de la « résistance », entre réaffirmation de la place de l’Amérique latine sur la carte de l’art mondial, mise à distance défensive des influences nord-américaines et réappropriation locale, par « transculturation », des modèles artistiques étrangers. L’étude de l’artialisation de la littérature trabienne est donc loin d’être l’analyse d’un simple procédé formel : elle dégage, nous semble-t-il, un véritable style trabien, miroir de l’écrivaine et de ses convictions. / Marta Traba (1923-1983), an Argentinian-Colombian writer and art critic, is most famous in Latin America for her critiques, her commitment to develop modern art in Colombia, and, more generally, for her “theory of resistance” which advocates the defence of the many cultural Latin-American identities in fine arts. Her literary work, however, is far less well-known. And yet, not only is it very rich, but it also constitutes the narrative counterpart to her critiques – a collection of tales innervated, to different degrees, with Traba’s notions on and knowledge of art. It is consequently about reconsidering these two sides of her written production as a consistent whole, and identifying the influences and interactions between her art critiques and her literary work, as well as between the fine arts which make up her artistic culture and her fictional writings.It then appears that Marta Traba devises and practices her critical writing “literarily” as she does, above all, her literary work “artistically”: the constant enhancement of the aesthetic eye on the world and of an intensified sensory experience shape an ideal of contemplation throughout her literary work; the continuous inserts of a critical terminology and of references to art works, sometimes in a clearly didactic mode, sometimes in a subtly playful manner, invite the reader to read her fiction stories and poems in the light of the artistic subtext which enriches their meaning; finally, the tale becomes the place where Traba’s theories of “resistance” are tested, at the crossroads of the re-affirmation of the place of Latin America on the map of international art, of the defensive distancing from North American influences, and of the local re-appropriation, by “transculturation”, of the foreign artistic models. The study of the artistic mutation of Traba’s literary work is therefore far from boiling down to the analysis of a mere formal process: from our point of view, it reveals an authentic style, Traba’s style, which is the mirror of the writer and her convictions.