Many studies into emotional labor are constrained by a capitalist paradigm, where emotional labor is performed within corporate organizations with hierarchical divisions of labor. Using the case of Hotel BAUEN, this paper considers emotional labor in different organizational and relational context: a worker-owned and worker-recovered business in Argentina. Drawing on ethnographic observations in Hotel BAUEN, this paper shows how service work is structured in the cooperative hotel. Instead of doing emotional labor in the traditional “service triangle,” worker-owners provide services in a “cooperative dyad” without the oversight of a boss. This structural difference has both organizational and relational implications for the business. First, worker-owners provide a variety of services to a broad set of customers. Second, the processes of autogestión (self-management) rely on workers’ emotional labor to cultivate lateral workplace relations through self-management. Ultimately, within the cooperative service workplace, emotional labor functions differently than the literature would suggest. Rather than reproduce social inequalities, workers use emotional labor to generate capital and sustain an organization that seeks to reduce inequality. / text

My dissertation departs from the idea that horizontal kinship, in particular the sibling bond, has largely been overlooked by criticism of 19th century Argentine literature. Works on the foundational mid-century narratives concentrate on allegorical heterosexual unions, while those of the late century primarily deal with the failed marriages of naturalist fiction. I argue that in viewing the fictional family as a vertical, genealogical structure, these texts often fail to consider what Pierre Bourdieu calls "practical kinship". Also, in primarily focusing on the novel, they overlook the minor genres to which women were traditionally limited, such as pedagogical texts, as well as private or semi-private writing like the diary and the memoir, in which sibling relations are more prominent. This project, in contrast, takes a politically engaged, socially influential family of writers, rather than a fictional representation, as the framework for analyzing the social, cultural, and political shifts of the turn of the century in Argentina (1890-1910). Focusing on the work of two proto-feminist sisters, Delfina and Julia Bunge, and a closeted homosexual brother, Carlos Octavio Bunge, I study the dynamic relationship between these siblings, reading a wide range of their public and private texts. In dialogue with naturalist novelists and positivist essay writers, la familia Bunge challenges the conventional view that the upper class saw the traditional criollo family unit as the last bastion of stability in the face of sexual and class "inversion" by themselves questioning normative gender roles, complicating compulsory heterosexuality, and performing the gaps in the hegemonic division of public and private space. I analyze siblinghood as a dynamic actor in shaping the literature, culture, and politics of the turn of the century, underscoring the role of relational subjectivities in forming notions of gender, sexuality, citizenship, and mutual intelligibility. / text

I explore the changing use of political violence by the new Latin American military regimes, specifically post-1976 Argentina with comparative analysis towards Augusto Pinochet’s Chile, as well as by those who protested military authoritarianism during the Dirty War and Operation Condor. These military dictatorships adopted aggressive anti-communist ideologies and displayed them through internal, covert violence. In this study, I adopt definitions of the 'spectacle of violence' and the 'spectacle of absence' that seek to explore the politics of diplomacy behind violent acts that have informed the processes of staging, or hiding, both the methods and outcome of inflicted violence. Geopolitics of the post-human rights legislation era and the Argentine military’s perception of a failed judicial system fostered the institutionalization of a new violent performance, the spectacle of absence, in opposition to the guerrillas' application of the public spectacle of violence. My analysis of violent spectacles within Argentina and their reception at home and abroad displays the various meanings transmitted and received through the medium of political violence as performance.

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La presente tesis define un modelo teorico de lectura de la obra li­rica de Olga Orozco. Se parte de la comprension de la arquitectura poetica de la autora argentina como proyeccion estetica de los presupuestos del pensamiento moderno; sin embargo, a esta aseveracion se contrapone, a modo de comparacion y de contraste, el entramado conceptual de un analisis estetico de la posmodernidad, principalmente aquel que se ajusta a la propuesta de Hassan (The Posmodern Turn, 1987). Se intenta con ello generar una estructura teorica convergente capaz de enriquecer las interpretaciones tradicionales, las cuales insisten en la idea de una poetica orozquiana como gnosis o como enmascaramiento simbolico-verbal de lo autobiografico. Ello ocurre en los casos de Melanie Bowman Occultism, Gnosticism, and Feminine Archetype in the poetry of Olga Orozco (1995) y Elba Torres de Peralta La poetica de Olga Orozco (1987), respectivamente.El analisis hermeneutico es la red teorica que organiza todo este esfuerzo interpretativo; dicha formulacion cri­tica, y particularmente la hermeneutica filosofica de Hans-Georg Gadamer, busca la asimilacion de horizontes diferenciados en un solo esfuerzo de lectura al que suele denominarse de horizontes coincidentes o fusionados. De tal manera que el proceso de análisis aqui­ descrito y explicado no es de naturaleza abierta y relativa, sino que busca ajustarse al poema como obra arti­stica sujeta a interpretacion y justificacion dentro de un contexto historico e ideologico determinado.En terminos generales, esta tesis persigue cumplir dos funciones: la primera, recien mencionada, enriquecer la lectura de la obra li­rica de la poeta argentina; la segunda, establecer un precedente en la instrumentacion de analisis textual, promoviendo la supresion del hiato entre modernidad y posmodernidad y alegando que esta ultima no es la negacion de la primera, sino su mas acabada actualizacion historica.

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La tesis se propone, mediante eI despliegue de una argumentación desde distintos enfoques teórico-metodológicos y núcleos de sentido, dar cuenta del modo como las políticas de Angélica Gorodischer tanto como la de Tununa Mercado (ambas escritoras argentinas contemporáneas aun en ejercicio) plantean la similitud de la figura de la hipérbole, como figura retórica que refine sus gestos escriturarios, en una par aumento, en la otra par disminución. De este modo, se verifica que lo que en apariencia resalta como una forma de abigarramiento y profusión y otra, en cambio, escueta y lacónica, responden en definitiva a un mismo énfasis retórico de sus respectivas ficciones.

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