En el siguiente trabajo se busca analizar, en algunas crónicas de Pedro Lemebel, la configuración de los personajes y el narrador en torno a la ciudad. Puntualmente se analizarán las crónicas recogidas en el capítulo “Quiltra Lunera”1 de “De Perlas y Cicatrices. Crónicas radiales”. Libro que funciona como suerte de antología de una serie de crónicas leídas por el autor, acompañado de música, en el programa “Cancionero” transmitido por Radio Tierra. Quizás, es debido a este origen mestizo y misceláneo, que las crónicas de Pedro Lemebel resultan intrigantes, ya que no responden por completo al género de la crónica, en el que se les ha intentado clasificar, casi a la fuerza, siendo que ésta es una categoría que no las logra abarcar del todo.

Tesis para optar al grado de Magíster en Literatura / Escuela de Postgrado / Esta investigación tiene como fin estudiar la construcción del cuerpo marginal en tres textos narrativos escritos durante la dictadura y postdictadura chilena: Lumpérica (1983) de Diamela Eltit. Óxido de Carmen (1986) de Ana María del Río y La esquina es mi corazón (1995) de Pedro Lemebel. Desde mi punto de vista, estas configuraciones del cuerpo se articulan, principalmente, desde las voces narrativas, las que definen a los cuerpos como espacios de resistencia político-identitaria. En la tesis sostengo que la representación del cuerpo marginal del corpus de estudio entra en debate con el proyecto ideológico refundacional al Estado chileno que se inicia con el Golpe de Estado en Chile (1973). Dicho proyecto se sostiene en, al menos, tres tipos de discursos: el nacionalista, el católico y el neoliberal. Los tres actúan sobre la matriz heteronormativa para reproducir un determinado orden de relaciones que evoluciona hacia un modelo neoliberal. Los textos seleccionados desafían el contexto ideológico en el que fueron escritos, generando concepciones contrahegemónicas de sujeto y de comunidad, así como recursos literarios que problematizan las bases de los discursos antes mencionados.

The research project 'This is my Face: Audio-visual practice as collaborative sense-making among men living with HIV in Chile' is an interdisciplinary project that explores 'collaborative mise en-scène' as a method to further understand the sense-making processes around the biographical disruption caused by HIV. It combines Anthropology and Arts methods as part of the PhD in Anthropology, Media and Performance, a practice-based program that fosters interdisciplinary approaches to the production of original knowledge, based on self-reflexive and critical research practices (The University of Manchester, 2018). Relying on the specific competences of photography and film and the co-creation of an ethnographic context based in hermeneutic reflexivity, the collaborators on the project created and explored representations of critical life events, in order to make sense of the disruption HIV brought to their lives. The collaborators were highly stigmatised individuals living with HIV, which hindered their possibilities for sharing narratives and for reflection, and as such, made it more difficult for them to come to terms with a diagnosis they described as a 'fracture' in their lives. This project analyses the creative process of 'collaborative mise-en-scène' as a way to provide further opportunities for reflexivity and sense making, a method that departs from their everyday face-to-face encounters as means of understanding what they are going through. Representations of life events emerged from our practice, as well as evocations, which provided a means by which to understand their experiences with HIV, and opened up ways to resignify their past experiences and projections of the future. Photography and film offered their specific expressive competences to the project, but also gave the possibility of making visible the collaborators' experiences in order to promote a dialogue with others, moving beyond our creative encounters. Therefore, their evocations became 'statements' of what it means to live with HIV in Chile, and at the same time, by taking part in its creation, it provided access to the particularities of the sense-making process in which those images were embedded. This collaborative creative process opened up ways to highlight the relevance for sense-making in face-to-face encounters, demonstrating that hermeneutic reflexivity as a practice-based form of mutual questioning can promote a critical engagement with life trajectories and with others beyond our practice.