Detrás de las paredes : Una aproximación al análisis de testimonios de exdetenidos desaparecidos como base de la construcción histórico social

Mediante el Trabajo a presentar se pretende dar cuenta de las formas de narrar la historia reciente como construcción de sentido y poder. Es así que se elaborará el análisis de testimonios de sobrevivientes de la experiencia concentracionaria establecida en la Argentina en el periodo 1974-1983, desde una óptica que considera a los archivos como fuentes de relatos biográficos y como eslabones de una cadena histórica. Partiendo del Proyecto de Investigación Ubacyt S838 "Hacia una reconstrucción de las memorias del genocidio en Argentina. Construcción de un archivo de testimonios de los ex detenidos en campos de concentración o cárceles durante la última dictadura militar", en donde se plantea y analiza como en diversos procesos históricos puede constatarse que las voces de los sobrevivientes de los procesos genocidas son silenciadas por la sociedad, en función de la incomodidad que producen a la hora de la construcción de imágenes colectivas (memorias) de dicha historia social. Dicho proyecto se propone así, rescatar dichas voces y de esta forma, contribuir a construir la historia reciente desde las palabras de los propios protagonistas. Al mismo tiempo, consideramos que el testimonio como fuente de análisis se presenta como un tema complejo con múltiples variables a considerar y problematizar. Entre ellas surge un primer interrogante que posibilita la elaboración del presente trabajo: ¿Existieron micro solidaridades y resistencias dentro del espacio clausurado de los Centros Clandestinos de Detención (CCD)? Buscando respuestas se establece el escrito a presentar, tomando como hipótesis la existencia de aristas dentro de los testimonios y fuentes que difieren de los discursos actuales, donde estas formas de experiencias y resistencias dentro de los CCD no se difunden, ensombrecidas por el ?horror? que conlleva la práctica concentracionaria misma y continua en las formas de compilar, narrar y hacer la historia

Black Medicine

Thesis (Master's)--University of Washington, 2016-06

QUANDO OS ESPÍRITOS SAEM DO ABISMO: O ESTABELECIMENTO NARRATIVO DO TERROR ESCATOLÓGICO EM APOCALIPSE 9,1-21

O Apocalipse de João é uma obra instigante. Sua linguagem cheia de violência, com monstros aterrorizantes, pessoas clamando por justiça, anúncios de mortes e desespero, em um quadro de espetáculos celestes, fascina os que gostam de ficção e alimenta a esperança dos que esperam um dia entrar na Nova Jerusalém, onde não haverá mar nem morte, quando as lágrimas serão enxugadas. Contudo, o livro do Apocalipse será lido como uma narração da realidade. Nesse sentido, o texto não é visto como reflexo de qualquer opressão, mas construção discursiva a respeito do sistema que, para o visionário, é a negação da ordem. Neste trabalho, a partir dos conceitos de texto e memória cultural, à luz das pesquisas de I. Lótman, da escola russa de semiótica da cultura e das pesquisas dos Assmann, observar-se-á como as memórias de seres celestes caídos e aprisionados da tradição enoquita estão presentes na literatura judaico-cristã e servem para a construção narrativa do cenário de terror escatológico na quinta e sexta trombetas de Ap 9,1-21. Assim sendo, a tese defende o terror como instrumento de persuasão, o qual serviu, na estratégia do visionário, para descrever o seu contexto como realidade caótica. Por meio de estratégias narrativas, o narrador deseja que sua visão seja levada a sério e que seus interlocutores aceitem a sua interpretação da realidade, deixando a associação com a vida e sistema romanos, pois se assim procederem serão comparados aos selados e receberão as mesmas recompensas. Dessa maneira, sua descrição com linguagem escatológica joga com o futuro e com o presente; prevê o caos, mas o vive em nível narrativo. Por isso o livro do Apocalipse, com um dualismo extremamente radical, não dá espaços para dúvidas. A tese defende, portanto, que essa obra pode ser lida como instrumento retórico de terror e medo que leva seus leitores implícitos a não flertarem com Roma, a não aceitarem seus discursos ou os que com ela se associam.

A strand of vermicelli:Dr Darwin's part in the creation of Frankenstein's monster

Although much has been written about Mary Shelley's Frankenstein, the part played by Erasmus Darwin (1731-1802) has been almost entirely neglected. This is odd as, apart from some ghost stories, Dr Darwin is the one influence mentioned in both the 1816 and 1831 prefaces to the book. The present contribution aims to redress that omission. It aims to show that Darwin's ideas about spontaneous generation, his anti-establishment ideas, and his literary genius played a significant role in forming the 'dark and shapeless substance' surging in Mary Shelley's mind during the summer of 1816 and from which her tale of Gothic horror emerged. It is, however, ultimately ironic that Frankenstein, which warns against a too enthusiastic use of scientific knowledge, should have been partly inspired by one of the most optimistically forward-looking of all late eighteenth-century thinkers. © 2007 Institute of Materials, Minerals and Mining.

Androiden und (Anti)feminismus in The Stepford Wives

Since the early days of cinema the creation of artificial life with its various implications has been a popular topic on screen. Amongst the large number of films that deal with the theme of androids Bryan Forbes’ "The Stepford Wives" (1975) is noticeable for its focus on questions of gender and the relationship between the sexes. The film is set in a contemporary small suburban town where frustrated husbands have found a special way of dealing with their emancipated wives by replacing them with docile life-like robots. Mixing elements of the thriller and horror genres with farce and comedy "The Stepford Wives" was the first American mainstream film to deal explicitly with Women’s Lib. Unlike Ira Levin in his much more ambivalent novel that the film was based on, Forbes and his actors deliberately set out to make a feminist satire, and according to some critics succeeded in producing an important document of second wave feminism which soon acquired cult status. However, it also provoked a number of negative reactions from feminists who were very uncomfortable with a film in which men get away with murdering the female population of an entire town. A closer inspection reveals that the satirical element of the film is indeed not prominent and frequently counteracted, at times facilitating a misogynist rather than a feminist interpretation. This is mainly due to the ending of the film which implies the murderous elimination of the female protagonist. Unlike all other cinematic and literary works that feature androids "The Stepford Wives" shows the successful creation of artificial life which does not backfire. In addition, the film which clearly categorises itself as a thriller and horror movie, and specifically alludes to the tradition of threatened yet strong female characters in these genres, at the same time defies this convention in favour of a seemingly misogynist ending. Thus the way in which "The Stepford Wives" refuses to comply with the traditions of both the android theme and the horror genre, involuntarily serves to undermine its intention as a feminist social satire.

Interventionen:Literaturkritik als Widerspruch bei W. G. Sebald

"Ich habe einen Horror vor allen billigen Formen der Fiktionalisierung. Mein Medium ist die Prosa, nicht der Roman", begründet W. G. Sebald seine Neigung zum essayistischen Schreiben. Und eben diese Erzählprosa W. G. Sebalds bildet den Stoff, auf dem Uwe Schüttes eindrückliche und kritische Beobachtungen zum biografischen, literaturwissenschaftlichen und literarischen Werdegang des Autors von "Austerlitz" fußen. W. G. Sebald ist einer der anerkanntesten und zugleich umstrittensten Schriftsteller der deutschen Literatur des späten 20. Jahrhunderts. Sein vielgerühmtes literarisches Werk ruht auf einem Fundament, das größtenteils kaum bekannt ist, nämlich die im Verlauf von rund 30 Jahren entstandenen kritischen Schriften. "Interventionen" bietet erstmals einen so tiefschürfenden wie umfassenden Überblick über die Literaturkritik Sebalds unter Einbezug zuvor unveröffentlichter Archivdokumente. Uwe Schütte, der bei Sebald promoviert hat, legt anschaulich dar, wie sich Sebalds eigenwillige Literaturkritik – von der Magisterarbeit über Carl Sternheim bis zum polemischen Essay "Luftkrieg und Literatur" – entwickelt hat. Seine Studie skizziert damit die intellektuelle Biografie des vom Allgäu in die Provinz East Anglias entlaufenen Germanisten. Vor allem aber zeichnet "Interventionen" nach, wie Sebald im kritischen Widerspruch zu Germanistik und deutscher Nachkriegsliteratur selbst zum Schriftsteller wurde. Der Autor Uwe Schütte, geb. 1967, promovierte 1997 bei W. G. Sebald an der University of East Anglia und ist Reader in German an der Aston University in Birmingham, England.

Public attitudes on the ethics of deceptively planting false memories to motivate healthy behavior

Researchers have proposed that planting false memories could have positive behavioral consequences. The idea of deceptively planting “beneficial” false memories outside of the laboratory raises important ethical questions, but how might the general public appraise this moral dilemma? In two studies, participants from the USA and UK read about a fictional “false-memory therapy” that led people to adopt healthy behaviors. Participants then reported their attitudes toward the acceptability of this therapy, via scale-rating (both studies) and open-text (Study 2) responses. The data revealed highly divergent responses to this contentious issue, ranging from abject horror to unqualified enthusiasm. Moreover, the responses shed light on conditions that participants believed would make the therapy less or more ethical. Whether or not deceptively planting memories outside the lab could ever be justifiable, these studies add valuable evidence to scientific and societal debates on neuroethics, whose relevance to memory science is increasingly acute.

Teoría y práctica del neobarroco en Severo Sarduy

This dissertation analyzes the theory and practice of the Cuban postmodern writer Severo Sarduy (1937–1993) from his early adult years in Cuba to his exile period in Paris, France, where he lived until his death. By studying his narrative through the light of his theoretical essays, this paper demonstrates that the author created his own type of reading model—from and for Sarduy. His literary work is influenced by three major elements: (post)structuralism, psychoanalysis, and Buddhism, which combined form what Sarduy himself called the Neobarroque style. The Sarduyan writing is a transgressive exercise expressed through his concept of simulación. This style breaks with the traditional art concept of mimesis (the representation of reality in the western world), and therefore with the correspondence between the signifier and the signified. Sarduy does not intend to represent reality but to go beyond it, achieving by his technique of signifying exhaustion to represent absence itself. The Neobarroque of Severo Sarduy is an aesthetic of the empty signifier based on the reckless expenditure, and ultimately exhaustion, of the artifices of language that precipitates in a signifier chain towards the infinite. His language does not transmit a message but it signifies itself, that is, a means without an end. Paradoxically, this signifier chain produces an excess of metaphors beyond the material limits of language and its support, the page. The space beyond language is the hipertelic technique inherited by Sarduy from his literary master, José Lezama Lima. This is also the empty space of no signification or nonsense in which occurs the depersonalization of the speaking subject; in Buddhist terminology this becomes the dissolution of the ego. The Sarduyan language is determined by a Lacanian psychoanalytic erotic drive (pulsion) known as the Barroquean desire, a death drive which directly relates to the exile condition of the author. But the genesis of this desire lies in a primordial desire of encounter with his origin: mother, maternal language, paradise, God. That is the reason why Sarduy not only poses an aesthetic question but also an ontological one. This other dimension of the Sarduyan writing is based on a liberating drive that permeates all his work—an ontological liberation expressed through language. The empty space created in the text provides the subject with the possibility of fusion with the all. Ultimately, Sarduy strives for a language that goes beyond the symbolic limits towards a place of constant dissolution, evanesce, and death-horror vacui. This corroborates the Sarduyan statement: “la simulación enuncia el vacío y la muerte.”

(Re)criando (mini)contos de terror: uma experiência de ensino de leitura e escrita de gênero multimodal

Given the multiplicity of languages and media present in contemporary texts, the work with digital genres characterizes itself as essential for teaching, reading and writing. Virtual media is already present in many dayly activities that require the use of language. This shows that the globalized world brings new demands of literacy and various reading practices. Given this perspective, we propose to work the multiliteracies present in the new texts from the enunciative discourse Bakhtinian assumptions. For this, we chose to be as the object of research / intervention, the horror flash fiction multimodal discursive genre, because it is a multissemiótico digital statement of virtual circulation. In this context, this study aimed to understand how the teaching of this kind can contribute to the development of knowledge related to reading and text production, required by multiliteracies, by performing a Didactic Sequence in the classroom, specifically for two classes of elementary school, 7th and 8th grades of public school. The research was based on Bakhtin's theory and the Circle (2009, 2011) on gender perspective in a dialogic and the proposed Dolz and Schneuwly (2004) for the text of teaching through sequences Teaching. We also use the precepts of multiliteracies focused on Rojo (2012, 2013). The methodology used was based on a qualitative approach. We consider the analysis of minicontos produced by students, it's own hibridism of multiliteracies, the discursive characteristics such as composition, style and subject content, in addition to relations dialogicity present in these statements. At the end of the study, we realized that our intervention contributed to the expansion of knowledge of the subjects involved related to reading and multimodal genre production.

Anti-"Dressed to Kill" demonstration

General note: Title and date provided by Bettye Lane.

Anti-"Snuff" movie demonstration

General note: Title and date provided by Bettye Lane.

Women against Pornography demonstration at the theater showing the anti-women film called "Snuff"

General note: Title and date provided by Bettye Lane.

Anti-"Dressed to Kill" demonstration

General note: Title and date provided by Bettye Lane.

Anti-movie "Snuff" demonstration

General note: Title and date provided by Bettye Lane.

Representing the Unrepresentable: The Photographs of Lee Miller at Buchenwald and Dachau

This article proposes a reflection on what the historian Saul Friedlander called “the limits of representation” of the massacres and genocides, in order to provide evidence to help settle the old debate about the Holocaust unrepresentability. To achieve this, we will carry out a textual analysis of five of the most painful images that the American photographer Lee Miller realized in the Nazi concentration camps of Buchenwald and Dachau, in April 1945. The war correspondent, who had been Man Ray’s assistant photographer, muse and lover, witnessed the horror, and if she knew how to represent it, that was, in a great extent, thanks to its surreal look.