Esta tesina aborda, desde la perspectiva de la teoría feminista, la representación de la maternidad y se plantea la relación madre e hija, en un análisis de las historias de dos personajes, Francisca y Juana, en la novela Diez mujeres (2011) de Marcela Serrano. El propósito es investigar cómo se configura la representación de la figura materna y cómo esta figura materna ha influenciado en las relaciones entre madres e hijas, en el modo de verse como mujeres y como madres, en estos dos personajes de la novela mencionada. Para ello, nos valdremos de un conjunto de teorías feministas entre las que destaca el tema de la maternidad, principalmente, las perspectivas de Simone de Beauvoir, Elizabeth Badinter y Adrienne Rich. En nuestro trabajo, en las historias sobre la figura materna que relatan, los personajes Francisca y Juana, ponen en evidencia que, tal como lo sostienen las teorías del feminismo, la figura materna visiblemente oprimida por las estructuras patriarcales ha influenciado en el destino de los personajes, en la forma de verse como madres, ya sea rompiendo o siguiendo la línea de los cánones de la condición femenina tradicional. No obstante, el resultado destacado del análisis es que, en el modo de verse como mujeres, los personajes muestran una incapacidad de romper con la influencia de la figura de la madre y una dificultad de adueñarse de su propio destino. / <p>Esta tesina aborda, desde la perspectiva de la teoría feminista, la representación de la maternidad y se plantea la relación madre e hija, en un análisis de las historias de dos personajes, Francisca y Juana, en la novela <em>Diez mujeres</em> (2011) de Marcela Serrano. El propósito es investigar cómo se configura la representación de la figura materna y cómo esta figura materna ha influenciado en las relaciones entre madres e hijas, en el modo de verse como mujeres y como madres, en estos dos personajes de la novela mencionada. Para ello, nos valdremos de un conjunto de teorías feministas entre las que destaca el tema de la maternidad, principalmente, las perspectivas de Simone de Beauvoir, Elizabeth Badinter y Adrienne Rich. En nuestro trabajo, en las historias sobre la figura materna que relatan, los personajes Francisca y Juana, ponen en evidencia que, tal como lo sostienen las teorías del feminismo, la figura materna visiblemente oprimida por las estructuras patriarcales ha influenciado en el destino de los personajes, en la forma de verse como madres, ya sea rompiendo o siguiendo la línea de los cánones de la condición femenina tradicional. No obstante, el resultado destacado en el análisis es que, en el modo de verse como mujeres, los personajes muestran una incapacidad de romper con la influencia de la figura de la madre y una dificultad para adueñarse de su propio destino. </p>

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Abstracto: Mediante la teoría feminista El Segundo Sexo (1949), de la escritora y filósofa francesa Simone de Beauvoir, se analiza la novela Hasta Siempre, Mujercitas (2004) de la escritora chilena Marcela Serrano. El análisis se enfoca en la otredad y la subjetividad en el personaje de Ada, para investigar si es un personaje que actúa como un sujeto libre e independiente o si cae víctima bajo las normas e ideales patriarcales. Palabras claves: Marcela Serrano, Simone de Beauvoir, otredad, transcendencia, inmanencia, feminismo, el otro, crítica feminista, perspectiva de género. Abstract: With The Second Sex (1949), by the French writer and philosopher Simone de Beauvoir as theory, the novel Farewell, little women (2004) by Chilean writer Marcela Serrano is analysed. The analysis focus on the otherness in the character Ada, to investigate if it’s a character that acts as a free and independent subject or if she falls victim for the patriarchal norms and ideals.

[ES] La tesis propone una revisión de la emergencia y evolución del videoarte en Chile entre fines de los setenta y principios de los ochenta. Se enfoca en desentrañar las omisiones, transferencias visuales y las interacciones entre artistas, considerando la influencia de los contextos políticos y culturales. A través de entrevistas y análisis críticos de documentos históricos y vídeos, se busca comprender el papel del video como un medio de expresión y denuncia que refleja las dinámicas en tiempos de dictadura. El estudio abarca la contribución clave del festival de vídeo arte Franco-chileno y examina cómo éste influyó en el desarrollo del video arte en sus inicios en Chile. / [CA] La tesi proposa una revisió de l'emergència i evolució del videoart a Xile entre fins dels setanta i principis dels huitanta. S'enfoca a desentranyar les omissions, transferències visuals i les interaccions entre artistes, considerant la influència dels contextos polítics i culturals. A través d'entrevistes i anàlisis crítiques de documents històrics i vídeos, es busca comprendre el paper del vídeo com un mitjà d'expressió i denúncia que reflectix les dinàmiques en temps de dictadura. L'estudi abasta la contribució clau del festival de vídeo art Franco-xilé i examina com este va influir en el desenvolupament del videoart en els seus inicis a Xile. / [EN] The thesis proposes a review of the rise and evolution of video art in Chile from the late seventies to the early eighties. It focuses on uncovering omissions, visual transfers, and interactions among artists, considering the influence of political and cultural contexts. Through interviews and critical analysis of historical documents and videos, it aims to understand the role of video as a medium of expression and denunciation that reflects the dynamics during times of dictatorship. The study includes the key contribution of the Franco-Chilean video art festival and examines how it influenced the development of video art in its early stages in Chile. / Farriol Gispert, RJ. (2024). Temas, figuras y acciones sobre los orígenes del videoarte en Chile [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/207114

This doctoral dissertation is a study of three works: Marcela Serrano’s novel We Who Love Us So Much (1992), Ariel Dorfman’s play Death and the Maiden (1992) and its filmic version directed by Roman Polanski, and the documentary directed by Maria Elena Wood, The General’s Daughter (2006). Through the representations of subjectivist female characters in the works, we analyze what we call the vicissitudes of female identity in relation to the agitated sociopolitical circumstances that Chile lived from the sixties to 2006. In those decades, we observe the process of the construction of a revolutionary identity that culminates with the election of the Popular Unity government (1970-1973). Then, we examine the breakdown of female revolutionary identity during the violent repression known as the military dictatorship (1973-1990) after the coup d’état. Finally, we investigate the reconstitution of the identity of the women on the political left, a process assumed independently (rather than collectively) by women of varied characteristics and political orientations during the re-democratization period and until 2006. By analysing the female characters moving in literature, theatre, and film, we observe that these characterizations have helped to inform the readers/viewers through sharing stories of women, their limitations, their personal and collective visions presenting their doubts and fears on matters pertaining to them as female entities. But the greatest finding in this study is to discover that cultural products contain a number of female characters that can overcome their limitations in fiction, as is the case for women working in public spaces such as Michelle Bachelet, a “historical character” from The General's Daughter. They are firmly committed to the reality of women’s lives in Chile and deliver an optimistic message; women must continue integrating other women in order to end the discrimination that still exists in Chile.

This doctoral dissertation is a study of three works: Marcela Serrano’s novel We Who Love Us So Much (1992), Ariel Dorfman’s play Death and the Maiden (1992) and its filmic version directed by Roman Polanski, and the documentary directed by Maria Elena Wood, The General’s Daughter (2006). Through the representations of subjectivist female characters in the works, we analyze what we call the vicissitudes of female identity in relation to the agitated sociopolitical circumstances that Chile lived from the sixties to 2006. In those decades, we observe the process of the construction of a revolutionary identity that culminates with the election of the Popular Unity government (1970-1973). Then, we examine the breakdown of female revolutionary identity during the violent repression known as the military dictatorship (1973-1990) after the coup d’état. Finally, we investigate the reconstitution of the identity of the women on the political left, a process assumed independently (rather than collectively) by women of varied characteristics and political orientations during the re-democratization period and until 2006. By analysing the female characters moving in literature, theatre, and film, we observe that these characterizations have helped to inform the readers/viewers through sharing stories of women, their limitations, their personal and collective visions presenting their doubts and fears on matters pertaining to them as female entities. But the greatest finding in this study is to discover that cultural products contain a number of female characters that can overcome their limitations in fiction, as is the case for women working in public spaces such as Michelle Bachelet, a “historical character” from The General's Daughter. They are firmly committed to the reality of women’s lives in Chile and deliver an optimistic message; women must continue integrating other women in order to end the discrimination that still exists in Chile.

This doctoral dissertation is a study of three works: Marcela Serrano’s novel We Who Love Us So Much (1992), Ariel Dorfman’s play Death and the Maiden (1992) and its filmic version directed by Roman Polanski, and the documentary directed by Maria Elena Wood, The General’s Daughter (2006). Through the representations of subjectivist female characters in the works, we analyze what we call the vicissitudes of female identity in relation to the agitated sociopolitical circumstances that Chile lived from the sixties to 2006. In those decades, we observe the process of the construction of a revolutionary identity that culminates with the election of the Popular Unity government (1970-1973). Then, we examine the breakdown of female revolutionary identity during the violent repression known as the military dictatorship (1973-1990) after the coup d’état. Finally, we investigate the reconstitution of the identity of the women on the political left, a process assumed independently (rather than collectively) by women of varied characteristics and political orientations during the re-democratization period and until 2006. By analysing the female characters moving in literature, theatre, and film, we observe that these characterizations have helped to inform the readers/viewers through sharing stories of women, their limitations, their personal and collective visions presenting their doubts and fears on matters pertaining to them as female entities. But the greatest finding in this study is to discover that cultural products contain a number of female characters that can overcome their limitations in fiction, as is the case for women working in public spaces such as Michelle Bachelet, a “historical character” from The General's Daughter. They are firmly committed to the reality of women’s lives in Chile and deliver an optimistic message; women must continue integrating other women in order to end the discrimination that still exists in Chile.