Doctorada en filosofía, mención estética y teoría del arte / Esta investigación se concentra en la cinematografía que Cristián Sánchez produce y dirige durante la dictadura militar chilena para analizarla a partir de tres ejes distintos. En primer lugar, desde las posibilidades del fuera de campo, como dispositivo que permite reflexionar sobre lo que ocurre dentro y fuera del espacio de la pantalla. En segundo lugar, desde las categorías de la modernidad cinematográfica y el modo en que Sánchez se apropia de ellas, las tensa y transforma. Por último, desde la propuesta por una política que designamos así: “desde otro lugar”, indagando en torno al Chile de la época, desde condiciones distintas a las del proyecto del Nuevo Cine Latinoamericano del periodo antecedente. Estos elementos, que organizan una poética singular, son utilizados en esta filmografía como mecanismos estratégicos para configurar una posibilidad de cine en tiempos desbordados por los acontecimientos políticos, eludiendo la representación de los sucesos que ocurrieron en la época y estableciendo un quiebre imprescindible en el estado de la producción durante el periodo dictatorial. En las cinco películas realizadas entre 1975 y 1990, Sánchez conforma una representación de la época, en un trayecto que aborda las huellas de la política imperante, a partir del extrañamiento esencial de una narración que permea entre un adentro y un afuera, entre lo visible y lo invisible, entre lo sordo y lo sonoro. Desde esa apuesta, identificamos cuatro lugares de enunciación que configuran sintomáticamente la época. Estos son: la narración constantemente descentrada y un conflicto central debilitado; la posibilidad de reconstruir un pueblo que se encuentra profundamente diseminado; las tensiones que evoca el esquema espacial de Sánchez, donde las figuras del deambular y de la representación urbana se replantean; y la presencia de fantasmas, tanto materiales como simbólicos, que tornan aún más confuso e indeterminado aquello perceptible dentro de campo. / Embargo hasta octubre 2017

Magíster en teoría e historia del arte / Tesis no autorizada para ser publicada a texto completo / La particularidad de esta tesis es propiciar una investigación que no se centre particularmente en lo formal, ni en descifrar el discurso teórico. Sino más bien, se enfoca en la interpretación de estos en su conjunto, con el objetivo de trascender el mecanismo para interrogarse sobre el sentido de la obra. Es por esto que la hipótesis derivada corresponde a la siguiente pregunta: ¿La representación realista de la cinematografía de Cristián Sánchez nos sirve como estrategia para introducirnos, rastrear, organizar y develar las realidades que coexisten en el campo de lo real de la representación?

Since literary magical realism exploded out of Latin America and into international critical attention in the mid twentieth century, the limbs of its narrative genealogy continue to be sketched in both lower and higher than the branch bearing the immense impact of el boom. Perhaps the most often cited figure from magical realism’s pre-Latin American and pre-literary phase is Franz Roh, who deployed the term in 1925 to describe the German painting movement Magischer realismus, as critics such as Irene Guenther, Kenneth Reeds, Wendy Faris, and Lois Parkinson Zamora have shown. After having migrated transatlantically, magical realism mutated formally in the process whereby it came to be embodied in Latin American literature. Following the boom of the 1950s and 60s magical realism began to be recognized as a global phenomenon. Literary magical realism has now been written by authors from innumerable countries of origin and thus is not the sole property of Latin Americans, as Alejo Carpentier might have us believe. Erik Camayd-Freixas, who himself contends for the delimitation of a distinct Latin American magical realism, still concedes that the mode is “today’s most compelling world fiction” (583). In addition to Carpentier, Miguel Ángel Asturias, Gabriel García Márquez, and Isabel Allende, among other significant Latin American magical realists, key contributions to the mode’s corpus have since been recognized in the works of Jack Hodgins, Louise Erdrich, Robert Kroetsch, and Toni Morrison. Beyond the American continents, Wenchin Ouyang points out: “[Magical realism] is in Arabic, Chinese, English, German, Italian, Japanese, Persian, Portuguese, Spanish, Tibetan, and Turkish, to name but a few languages”. One recent example of magical realism is Salman Rushdie’s novel, The Enchantress of Florence (2008), analyzed in this study. Considering this novel in conjunction with the landmark 1949 publication of Carpentier’s The Kingdom of This World (El reino de este mundo), including its famous prologue, these two magical realist texts represent a significant development in magical realist authorship among East and West Indies. Furthermore, they form two temporal poles between which there is a nearly sixty-year time span, a figure that does not include texts preceding the Latin American boom.

Made available in DSpace on 2016-12-08T16:18:52Z (GMT). No. of bitstreams: 1 113870.pdf: 1830368 bytes, checksum: 153bbada5635c802b6efc13535762137 (MD5) Previous issue date: 2013-07-31 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This dissertation addresses the works of Cristian Segura (Tandil, Argentina, 1976). Curator, cultural manager and artist, his works debate over issues related to exhibition spaces and museological institutions, as well as memory spaces of cities. By means of interviews performed throughout 2012 and 2013, a study a narrowing his artistic and conceptual references was built. Dialoguing with Victor Grippo, artistic reference to Cristian Segura, and approximating with the French artist Marcel Duchamp, and his almost industrial modus operandi, we perceive Segura`s pursuance in questioning and transgressing the museological institutions with their own devices. These devices, thought over from the profound reading of Giorgio Agamben over Michel Foucault, can be deployed as indexes, simulacra, panoptic and atlas/archives. For that, Rosalind Kraus, Jean Baudrillard, Giorgio Agamben, Michel Foucault, Georges Didi-Huberman, André Malraux and Adolfo Bioy Casares are also used as basis. From the conceptual referential, a profile of Cristian Segura was outlined, narrowing his artistic works with the aforementioned concepts as a mean to perceive the institutional spaces with a different view. / Esta dissertação aborda a produção de Cristian Segura (Tandil, Argentina, 1976). Curador, gestor cultural e artista, suas obras versam sobre questões relacionadas aos espaços expositivos e às instituições museológicas, bem como os espaços de memória das cidades. Através de entrevistas realizadas ao longo de 2012 e 2013, construiu-se um estudo aproximando as suas referências artísticas e conceituais. Através de um diálogo com Victor Grippo, referência para Cristian Segura, e uma aproximação ao artista francês Marcel Duchamp, quanto ao seu modus operandi quase industrial, percebe-se que o artista busca questionar e transgredir a instituição museológica, através de seus próprios dispositivos. Esses dispositivos, pensados a partir da leitura aprofundada de Giorgio Agamben sobre Michel Foucault, podem ser desdobrados em índices, simulacros, panópticos e atlas/arquivos. Para tanto, são utilizados, também, os teóricos: Rosalind Kraus, Jean Baudrillard, Giorgio Agamben, Michel Foucault, Georges Didi-Huberman e André Malraux, bem como a literatura de Adolfo Bioy Casares. A partir desse referencial conceitual, delineou-se um perfil do artista Cristian Segura aproximando seu trabalho artístico aos conceitos supracitados como forma de se perceber os espaços institucionais através de um outro olhar.

Tesis para optar al grado de Magíster en Literatura / Esta investigación tiene como objetivo analizar la figura del diablo como alegoría del capitalismo en la obra narrativa del escritor chileno Cristian Geisse: En el Regazo de Belcebú (2011), El infierno de los payasos (2013) y Ñache (2015) y la novela Ricardo Nixon School (2016) en el contexto narrativo de la postmodernidad chilena. Para eso, me interesa establecer de qué forma funciona esta alegoría y qué significado le entrega a la sociedad en la que surge, considerando los distintos contextos narrativos en los que puede reconocerse la figura del diablo. La perspectiva de análisis será una lectura cultural y materialista de los textos literarios. Además del análisis teórico propuesto anteriormente, se pretende ubicar la figura de Cristian Geisse en el contexto de la narrativa chilena contemporánea. / Diciembre 2019

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-24T18:33:40Z No. of bitstreams: 1 Dissertação final.pdf: 8319574 bytes, checksum: bfc7083d5976839ec23a4b05404171d7 (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-24T19:33:31Z (GMT) No. of bitstreams: 1 Dissertação final.pdf: 8319574 bytes, checksum: bfc7083d5976839ec23a4b05404171d7 (MD5) / Made available in DSpace on 2018-08-24T19:33:31Z (GMT). No. of bitstreams: 1 Dissertação final.pdf: 8319574 bytes, checksum: bfc7083d5976839ec23a4b05404171d7 (MD5) / O presente trabalho tem como objetivo analisar o espetáculo Embodied, de Cristian Duarte, usando como fundamentação teórica a Embodied Cognitive Science, sobretudo no que se refere ao estudo das metáforas, abordado por George Lakoff e Mark Johnson nas publicações de 1999(Philosophy in the Flesh-The Embodied Mind its Challenge to Western Thought) e 2002 (Metáforas da Vida Cotidiana). Relacionar dança e ciência foi a estratégia utilizada para a análise coreográfica, sobretudo porque o livro Philosophy in the Flesh foi um dos pontos de partida para a construção do espetáculo. Embodied sugere relações com o pensamento científico atual. Os padrões organizativos e estruturais da cena mostram-se conectados com as hipóteses filosóficas apontadas pelos autores Lakoff e Johnson, que propõem a mudança paradigmática sobre a natureza da razão, afirmam o conceito de pensamento metafórico, a incorporação da mente (embodied mind) e sugerem, ainda, que o pensamento, assim como as ações, decorrem do sistema sensório-motor, porém se manifestam de maneiras diferentes. A cognição é o espaço onde o corpo, o ambiente e o cérebro estão acoplados densamente. Desta maneira, a metáfora torna-se uma importante ferramenta cognitiva. Nesta pesquisa, são identificadas três metáforas principais usadas pelos dançarinos durante o espetáculo: o corpo-coisa, o corpo-embate e o corpo-pornô. Observa-se que tais metáforas se estabelecem através de manipulações entre um corpo e outro, do campo de forças criado entre os corpos dos dançarinos, caracterizado por relações de polarização, relações diádicas e vetores de ação de movimento que não tem necessariamente continuidade de um corpo para o outro. As metáforas dançadas apontadas na pesquisa atuam o tempo todo durante o espetáculo e se estruturam nos conceitos de experiências e julgamentos subjetivos dos intérpretes. Observa-se que os dançarinos estão sugerindo metáforas como estratégias de pensamento e ação e que eles atuam como agentes metafóricos que compreendem e experimentam uma coisa em relação à outra. A análise buscou examinar possibilidades de relações entre os conhecimentos artísticos e científicos por acreditar serem sutis as interfaces entre essas duas áreas de conhecimento. / This research work aims to analyse the Embodied performance from Cristian Duarte, by using the theoretical foundation of the Embodied Cognitive Science for the study of the metaphors, which have previously been proposed by George Lakoff and Mark Johnson in their publications in 1999 (Philosophy in the Flesh-The Embodied Mind its Challenge to Western Thought) and 2002 (Methaphors we live by). The initiative to carry out a choreographic analysis based on the relationship between dance and science was undertaken in view of the fact that the book Philosophy in the Flesh was one of the starting points for the creation of the performance. Essentially, Embodied suggests relationships between the performance and the current scientific thinking on cognition. Moreover, the organisational and structural patterns of the scenes can be considered connected to the philosophical hypothesis pointed out by the authors, Lakoff and Johnson, who have proposed a paradigm change in the nature of reasoning by surrounding the metaphor concept of thinking with the incorporation of the mind (embodied mind). They suggest that thoughts, as well as actions are produced by the sensory motor system, but manifested in different ways. Cognition is the space where the body, its surroundings, and the mind are tightly joined together. Therefore, the metaphor becomes an important cognitive instrument. In this research work, three main metaphors are used to represent the ballet dancers during the Embodied performance. They are body-thing, body-collision, and body-porno. The research has revealed that the collisions between bodies, and the force field created by them, establish the metaphors that are characterised by polarised relations of actions, which do not necessarily demonstrate continuity from one body to another. In addition, the three metaphors identified in this research, are put into action at every point in time of the performance. They are structured on the basis of the experiences and subjective judgements of the interpreters. Finally, this research demonstrates that the ballet dancers are applying these metaphors as strategies of thoughts and actions. They actually perform as metaphor agents who understand and experiment one thing in relation to another. In conclusion, this analysis has shown the possible relationship between artistic and scientific knowledge, since the interfaces between these two realms of knowledge are analogous.

Made available in DSpace on 2016-04-26T18:18:14Z (GMT). No. of bitstreams: 1 Fernanda Raquel.pdf: 4548837 bytes, checksum: bf82a2dcd5cb2eb54120d565dd8c0866 (MD5) Previous issue date: 2009-10-05 / Fundação de Amparo a Pesquisa do Estado de São Paulo / The goal of this dissertation is to analyze two strategies of politicization of the body: the work of the Japanese theater group Gekidan Kaitaisha, connected to the thinking of the sixties avant-garde in Japan, and the investigations of the Brazilian choreographer Cristian Duarte who has created what we call temporary collectives". The issues that contaminate these experiences were the starting point to rethink possible body-environment interactions in the scene, as well as intercultural mediation processes. The common trait of the trajectories of these artists are the ways to give visibility to the power relations in the environments where they operate. Therefore, although living in very different cultures, both Gekidan Kaitaisha and Cristian Duarte s temporary collectives have questioned the notions of identity, origin and influence, making cracks emerge in stable conceptions of the body and culture, and opening various types of dialogue between East and West. Starting from an undisciplined approach, the theoretical frame of reference of this dissertation was based on the mediabody studies of Christine Greiner and Helena Katz (2001), in the discussion of cultural identity and hybridism conducted by Homi Bhabha (2003), and concepts of politics and politicization of Giorgio Agamben (2001, 2002 and 2006). The works of Muniz Sodré (2002 and 2006) and Jesús Martín-Barbero (1997) were essential to clarify the understanding of communication that guided the present research whose point of departure is the analysis of mediation processes offered by the selected experiences and its sensitive strategies. In addition to the bibliographic research, the methodological procedure included two field researches: the experience with Gekidan Kaitaisha during the studies developed in Japan, and the residence with the choreographer Cristian Duarte in São Paulo. This dissertation study the possibility of politicization of the body and the scene, from communication strategies that dislocate what is considered stable and closed into a field of instability and permeability characteristic of all bodily phenomena / O objetivo desta dissertação é analisar duas estratégias de politização do corpo: o trabalho do grupo de teatro japonês Gekidan Kaitaisha, vinculado ao pensamento de vanguarda dos anos sessenta no Japão; e a pesquisa desenvolvida pelo coreógrafo brasileiro Cristian Duarte que tem criado o que nomeamos de "coletivos temporários". As questões que contaminam estas experiências foram o pretexto necessário para repensar possíveis interações entre corpo-ambiente na cena, assim como processos de mediação entre culturas. O traço comum observado na trajetória destes criadores está nos modos de dar visibilidade às relações de poder presentes nos ambientes onde atuam. Portanto, embora vivam em culturas muito distintas, tanto o grupo Gekidan Kaitaisha, quanto os coletivos temporários de Cristian Duarte têm questionado as noções de identidade, origem e influência, fazendo emergir fissuras nas concepções estáveis do corpo e da cultura, e abrindo diferentes possibilidades de diálogo entre Oriente e Ocidente. A partir de uma abordagem indisciplinar, o quadro de referência teórica desta dissertação fundamentou-se nos estudos do corpomídia elaborados por Christine Greiner e Helena Katz (2001), na discussão acerca de identidade cultural e hibridismos realizada por Homi Bhabha (2003), e nas noções de política e politização de Giorgio Agamben (2001, 2002 e 2006). As obras de Muniz Sodré (2002 e 2006) e de Jesús Martín-Barbero (1997) apresentam-se também como fundamentais para explicitar o entendimento de comunicação que norteia a presente pesquisa, que tem como ponto de partida a análise dos processos de mediação propostos pelas experiências selecionadas e suas estratégias sensíveis. Além da pesquisa bibliográfica, o procedimento metodológico incluiu dois estudos de campo: a vivência com o grupo Gekidan Kaitaisha durante o período de estudo no Japão, e um período de residência em São Paulo com o coreógrafo Cristian Duarte. Esta dissertação estuda a possibilidade de politização do corpo e da cena, a partir de estratégias de comunicação que deslocam aquilo que é apresentado como estável e fechado para um campo de instabilidades e permeabilidade característico de todos os fenômenos corporais

This study aims to examine the health and care policies of the Moderates, the Christian Democrats, the Liberals and the Sweden Democrats, then compare each policy with the Tidö-agreement and analyze the parties' potential motives for cooperation. To help achieve the purpose of the study, following questions have been formulated: How did the care and care policies of the Moderates, Christian Democrats, Liberals and Sweden Democrats look before the elections in 2018 and 2022 respectively?, in what way, and to what extent, are care and care presented in the Tidö-agreement? and what political motives can explain the Moderates', Christian Democrats', Liberals' and Sweden Democrats' reasons for entering into cooperation with each other? The method is a motive analysis and to find out the possible motives of the parties, and the theory is Wolfgang C. Müller's and Kaare Strøm's theory regarding motives for the parties' actions where the parties are either most policy-seeking or office-seeking. The hypotheses are that the Moderates', Christian Democrats' and Liberals' mostly are office-seeking parties, while the Sweden Democrats' mostly is policy-seeking. However, the study results in only the hypothesis about the Liberals being strengthened, while the remaining hypotheses fall.

This doctoral thesis studies the relationship between journalism and literature in contexts in which freedom of speech is at risk. It takes as primary sources a variety of nonfiction, crónicas, literary journalism and testimonial novels published by Latin American authors in Spanish, from the 1950s to the 2000s. I propose the concept ‘documentary narratives’ to refer to all literary modes of discourse which are related, in diverse degrees, to a journalistic representation of reality. My corpus covers a wide range of topics such as social protests, dictatorships, civil wars, natural disaster, crime and migration. While scholars have focused on the rhetoric and history of this kind of narratives, my reading considers the real, face-to-face encounter between the journalist and others. I argue that the representation of these encounters influences the pact with the reader and challenges the notion of truthfulness. I contend that documentary narratives can serve as a tool for the transmission of knowledge and the production of public debate in societies marked by political and social instability. In a world overwhelmed by data production and immersed in violent acts against those to be considered ‘Others’, I argue that storytelling is still an essential form of communication among individuals, classes and cultures. Contrary to the authors’s intentions of documenting others’ lives, I conclude that these stories offer an (interrupted) account of oneself, that is, the account of a contemporary storyteller pursuing a rarely fulfilled desire of getting to know the Other truly. The thesis has two appendices. Appendix 1 showcases archival material that support some of my arguments. Appendix 2 includes the transcripts of the interviews that I conducted with eight Latin American authors: Elena Poniatowska, Leila Guerriero, Cristian Alarcón, Arturo Fontaine, Santiago Roncagliolo, Francisco Goldman, Martín Caparrós, and Juan Villoro.