This study examines the theatrical representation of the stealing of children during the last dictatorships in Spain and in Argentina in Laila Ripoll's Los niños perdidos and Patricia Suárez's Astianacte: una máscara del amor under the lenses of the concepts of trauma, myth and memory. Following the theories suggested by Freud, Adorno, Whitehead, Reyes Mate and others, the first chapter discusses the representation of the psychological traumas left by the dictatorial practices left not only on the minds of individuals but also on both nations as whole entities. While Ripoll invites her audience to reflect upon the consequences of the Spanish Civil War and franquism, Patricia Suárez urges her spectators to doubt about their own identity if they were born during the last dictatorship in Argentina. In chapter two, the concepts advanced by Barthes, Reig Tapia and Moreno-Nuño help explore the ways in which the playwrights condemn the legitimizing myths that gave birth to these dictatorial regimes. Both authors subvert these fictional stories, mainly by the use of sarcasm and humor. By means of the concepts of memory supported by Benjamin, Todorov, Nora and Juliá, the third chapter examines the need to let the traditionally silenced voices tell their version of the historical events. Ripoll and Suárez warn their audiences that it is impossible to achieve one collective national memory because there are individual conflicting memories that stem from the personal experience of the traumatic events.

The first protective activities of historical and archaeological heritage in the province of Girona (Catalonia, Spain), although some earlier precedents, were produced from the third decade of the nineteenth century. These arose as a reaction to this terrible destruction suffered as a result of the introduction of the liberal state and the disappearance of several regular orders. Preservationists actions were carried out by some pseudo-public entities, which acted at the request of local authorities. These entities include the the Diputación Arqueológica, the Sociedad de Amigos del País and the Comisión de Monumentos. These corporations, with significant human and economic constraints, began activities as important as the beginning of the excavations of the site of Ampurias, the formation of a provincial museum in Girona and the restoration of the monastery of Ripoll. / Les primeres actuacions protectores del patrimoni històric i arqueològic a l’actual província de Girona, tot i haver-hi alguns precedents anteriors, es produïren a partir de la tercera dècada del segle XIX. Aquestes sorgiren com a reacció a les terribles destruccions que patí aquest com a conseqüència de la instauració de l’Estat liberal i la desaparició dels ordres regulars. Les actuacions proteccionistes es vehicularen, majoritàriament, a través d’un seguit d’ens pseudo-públics, que actuaren a instancia de les administracions locals (Diputació i Govern Civil). Entre aquestes entitats cal destacar la Diputació Arqueològica, la Societat d’Amics del País i la Comissió de Monuments, per esmentar només unes quantes. Entitats que amb els seus escassos mitjans humans i materials endegaren activitats tan importants com: l’inici de les excavacions del jaciment d’Empúries, la formació d’un museu provincial a Girona i la restauració del monestir de Ripoll. / Las primeras actividades protectoras del patrimonio histórico y arqueológico en la actual provincia de Gerona, aunque hay algunos precedentes anteriores, se produjeron a partir de la tercera década del siglo XIX. Estas surgieron como reacción a las terribles destrucciones que sufrió este como resultado de la instauración del Estado liberal y la desaparición de los diversos órdenes regulares. Las actuaciones proteccionistas se vehicularon, mayoritariamente, a través de una serie de entidades pseudos-públicas, que actuaron a instancia de las administraciones locales (Diputación y Gobierno Civil). Entre estas entidades cabe destacar la Diputación Arqueológica, la Sociedad de Amigos del País y la Comisión de Monumentos, por citar solo unas cuantas. Entidades que con sus escasos medios humanos y materiales iniciaron actividades tan importantes como: el inicio de las excavaciones del yacimiento de Ampurias, la formación de un museo provincial en Gerona y la restauración del monasterio de Ripoll.

Esta dissertação examina as manifestações do sagrado na poesia da escritora gaúcha Lila Ripoll, que produziu oito obras entre 1938 e 1965. A análise tem por base teórica os estudos culturais de gênero e os estudos sobre a religião e o sagrado. A investigação permitiu concluir que os diferentes sentidos instaurados pelas imagens ligadas ao campo do sagrado na obra poética de Lila Ripoll apontam um processo de consciência crítica da autora em relação à Religião, como uma forma de controle do comportamento social, especialmente no que se refere à situação da mulher. / Submitted by Marcelo Teixeira (mvteixeira@ucs.br) on 2014-05-28T16:01:36Z No. of bitstreams: 1 Dissertacao Maria Cristina M da Silva.pdf: 471157 bytes, checksum: bbd7d66d415a74061e0dd10d523e99c0 (MD5) / Made available in DSpace on 2014-05-28T16:01:36Z (GMT). No. of bitstreams: 1 Dissertacao Maria Cristina M da Silva.pdf: 471157 bytes, checksum: bbd7d66d415a74061e0dd10d523e99c0 (MD5) / This paper investigates the manifestation of sacred in poetry from the gaúcha writer Lila Ripoll, who wrote eight works among 1938 and 1965. The analyse has for theoretical base the cultural studies of genre and the studies about religion and the sacred. The investigation allows us to conclude that the different senses arranged by the images linked to the sacred field in the poetical work of Lila Ripoll, show a critical process of conscious from the writer in relation to Religion, as a way to control social behaviour, specially about the woman´s situation.

Esta dissertação examina as manifestações do sagrado na poesia da escritora gaúcha Lila Ripoll, que produziu oito obras entre 1938 e 1965. A análise tem por base teórica os estudos culturais de gênero e os estudos sobre a religião e o sagrado. A investigação permitiu concluir que os diferentes sentidos instaurados pelas imagens ligadas ao campo do sagrado na obra poética de Lila Ripoll apontam um processo de consciência crítica da autora em relação à Religião, como uma forma de controle do comportamento social, especialmente no que se refere à situação da mulher. / This paper investigates the manifestation of sacred in poetry from the gaúcha writer Lila Ripoll, who wrote eight works among 1938 and 1965. The analyse has for theoretical base the cultural studies of genre and the studies about religion and the sacred. The investigation allows us to conclude that the different senses arranged by the images linked to the sacred field in the poetical work of Lila Ripoll, show a critical process of conscious from the writer in relation to Religion, as a way to control social behaviour, specially about the woman´s situation.