{"title":"Testimonio y práctica artística en el Campo de Prisioneros de Chacabuco 1973-1974. El teatro de Mario Molina.","authors":"Francisca Carolina Durán Mateluna","doi":"10.7764/69.9","DOIUrl":"https://doi.org/10.7764/69.9","url":null,"abstract":"","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73545941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"De los usos de la muerte en La expropiación de Raúl Ruiz","authors":"Nicolas Lema Habash","doi":"10.7764/69.5","DOIUrl":"https://doi.org/10.7764/69.5","url":null,"abstract":"","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88337373","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Cuerpos mirados, cuerpos que miran: Las series fotográficas de Carla Yovane","authors":"D. González","doi":"10.7764/69.11","DOIUrl":"https://doi.org/10.7764/69.11","url":null,"abstract":"","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84031104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present article analizes a group of Latin American audiovisual productions under the light of Achile Mbembe’s “necropolitic” problem. The thematical universe of these movies and tv series, produced between 1990’s and 2018, is the criminal world of Latin American cities. I have previously conceptualized these productions as Latin American Lumpen Noir . This concept will allow readers to think about an extra cinematographic problem: how “necropolitical” forms are the biopolitical regime in which vast sectors of Latin American societies live, and how these urban spaces do not take the forms of the Foucauldian panoptic prison, but that of the Latin American prison pavilions.
{"title":"Ciudad penitenciaria: necropolítica y las formas audiovisuales del Noir Lumpen Latinoamericano","authors":"José Miguel Santa Cruz Grau","doi":"10.7764/69.8","DOIUrl":"https://doi.org/10.7764/69.8","url":null,"abstract":"The present article analizes a group of Latin American audiovisual productions under the light of Achile Mbembe’s “necropolitic” problem. The thematical universe of these movies and tv series, produced between 1990’s and 2018, is the criminal world of Latin American cities. I have previously conceptualized these productions as Latin American Lumpen Noir . This concept will allow readers to think about an extra cinematographic problem: how “necropolitical” forms are the biopolitical regime in which vast sectors of Latin American societies live, and how these urban spaces do not take the forms of the Foucauldian panoptic prison, but that of the Latin American prison pavilions.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73716964","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The three chosen novels respond to the economic decline of Valparaíso in the mid-20th century by representing space and society, as well as the predominant affections: Valparaíso, Puerto de nostalgia ([1936] 1955) by Salvador Reyes, is located in the Plan of the city and fluctuates between the nostalgic idealization of the English bourgeoisie and the bohemian one of the present; Hijo de ladrón (1951) by Manuel Rojas and El mundo herido (1955) by Armando Méndez Carrasco, instead privilege the space of the hills and move towards a period of mourning in the face of lost time, updating, respectively, the Enlightenment values and the traditional community.
{"title":"Espacio, sociedad y afectos en tres novelas de Valparaíso: Salvador Reyes, Manuel Rojas y Armando Méndez Carrasco","authors":"Ximena Figueroa Flores, F. Alfonso","doi":"10.7764/69.7","DOIUrl":"https://doi.org/10.7764/69.7","url":null,"abstract":"The three chosen novels respond to the economic decline of Valparaíso in the mid-20th century by representing space and society, as well as the predominant affections: Valparaíso, Puerto de nostalgia ([1936] 1955) by Salvador Reyes, is located in the Plan of the city and fluctuates between the nostalgic idealization of the English bourgeoisie and the bohemian one of the present; Hijo de ladrón (1951) by Manuel Rojas and El mundo herido (1955) by Armando Méndez Carrasco, instead privilege the space of the hills and move towards a period of mourning in the face of lost time, updating, respectively, the Enlightenment values and the traditional community.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87240113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"La performatividad de las imágenes","authors":"A. G. Villar","doi":"10.7764/69.23","DOIUrl":"https://doi.org/10.7764/69.23","url":null,"abstract":"","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79145353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Gabriela Klier Maia Vargas, Conicet Iid y Pca Unlp
{"title":"Representaciones de Naturaleza en Isla Victoria","authors":"Gabriela Klier Maia Vargas, Conicet Iid y Pca Unlp","doi":"10.7764/69.12","DOIUrl":"https://doi.org/10.7764/69.12","url":null,"abstract":"","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90626579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Este ensayo aborda la pelicula El otro dia (2014), de Ignacio Aguero, centrandose en las estrategias mediante las cuales el documental construye un espacio filmico y un modo de mirar a partir de la exploracion de la casa de su director y los lugares de residencia de quienes tocan su puerta, como punto de partida para una meditacion sobre la vita cotidiana y la memoria personal y colectiva. Se analiza la presencia en el documental de diversos tipos de imagenes (fotografias, pinturas, dibujos, grabados, afiches, citas filmicas) y la construccion por medio de diversas estrategias de una mirada respetuosa y reflexiva hacia los sujetos que protagonizan el filme.
{"title":"Mirada, memoria e imagen en El otro día, de Ignacio Agüero","authors":"Fernando. Pérez Villalón","doi":"10.7764/69.6","DOIUrl":"https://doi.org/10.7764/69.6","url":null,"abstract":"Este ensayo aborda la pelicula El otro dia (2014), de Ignacio Aguero, centrandose en las estrategias mediante las cuales el documental construye un espacio filmico y un modo de mirar a partir de la exploracion de la casa de su director y los lugares de residencia de quienes tocan su puerta, como punto de partida para una meditacion sobre la vita cotidiana y la memoria personal y colectiva. Se analiza la presencia en el documental de diversos tipos de imagenes (fotografias, pinturas, dibujos, grabados, afiches, citas filmicas) y la construccion por medio de diversas estrategias de una mirada respetuosa y reflexiva hacia los sujetos que protagonizan el filme.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85088983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Este articulo es un estudio critico de dos operaciones fundamentales del Museo de Arte actual: su facultad de taxonomizacion de lo real y su complicidad con la categoria de Patrimonio. En la formulacion contemporanea del Museo de Arte, este trabajo discute los alcances y efectos de la taxonomia como intento de (re)produccion de un regimen unitario y continuo de legibilidad e instalacion de los objetos, asi como la investidura de los objetos como Patrimonio, y en virtud de su posibilidad de experiencia, al modo de “documento-archivo” o “simulacro”.
{"title":"El Museo de Arte: la taxonomía y el Patrimonio como operaciones de formación del objeto y el espacio actual","authors":"Gonzalo Andrés Maire Palma","doi":"10.7764/69.20","DOIUrl":"https://doi.org/10.7764/69.20","url":null,"abstract":"Este articulo es un estudio critico de dos operaciones fundamentales del Museo de Arte actual: su facultad de taxonomizacion de lo real y su complicidad con la categoria de Patrimonio. En la formulacion contemporanea del Museo de Arte, este trabajo discute los alcances y efectos de la taxonomia como intento de (re)produccion de un regimen unitario y continuo de legibilidad e instalacion de los objetos, asi como la investidura de los objetos como Patrimonio, y en virtud de su posibilidad de experiencia, al modo de “documento-archivo” o “simulacro”.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86821811","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
En el siglo XX, la musica popular fue el lenguaje artistico mas contundente y una de las grandes fuerzas esteticas de Brasil. Desde los anos 30, ella ocupo una posicion importante en debates culturales y proyectos nacionalistas y, a lo largo de los anos, expandio su alcance con el avance de los medios de comunicacion. Dicha inversion todavia resulto, mas alla de lo esperado, en la produccion de una modalidad critica de cancion. Asi que en los 60, Al igual que el arte moderno, la cancion se torno reflexiva, operando de manera critica en relacion a si misma y al contexto cultural y politico. El componente reflexivo de la cancion parece haber ampliado considerablemente su alcance cultural. Tanto es asi que no parece irrazonable senalar una conexion profunda entre la cancion y un cierto horizonte de construccion nacional. En este trabajo, intentamos hacer un panorama del desarrollo de la musica popular brasilena de modo a aclarar ese proceso y, tal vez, posibilitar nuevos planteamientos para pensar sus posibilidades criticas desde su dimension estetica.
{"title":"La canción reflexiva: en torno al estatuto crítico de la música popular en Brasil","authors":"Ismael de Oliveira Gerolamo","doi":"10.7764/69.1","DOIUrl":"https://doi.org/10.7764/69.1","url":null,"abstract":"En el siglo XX, la musica popular fue el lenguaje artistico mas contundente y una de las grandes fuerzas esteticas de Brasil. Desde los anos 30, ella ocupo una posicion importante en debates culturales y proyectos nacionalistas y, a lo largo de los anos, expandio su alcance con el avance de los medios de comunicacion. Dicha inversion todavia resulto, mas alla de lo esperado, en la produccion de una modalidad critica de cancion. Asi que en los 60, Al igual que el arte moderno, la cancion se torno reflexiva, operando de manera critica en relacion a si misma y al contexto cultural y politico. El componente reflexivo de la cancion parece haber ampliado considerablemente su alcance cultural. Tanto es asi que no parece irrazonable senalar una conexion profunda entre la cancion y un cierto horizonte de construccion nacional. En este trabajo, intentamos hacer un panorama del desarrollo de la musica popular brasilena de modo a aclarar ese proceso y, tal vez, posibilitar nuevos planteamientos para pensar sus posibilidades criticas desde su dimension estetica.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90406159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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