Auge y decadencia de la fábrica de hilados y tejidos de algodón La Industrial, 1935-1999 (Estudios)

Este artículo presenta una aproximación general al mundo obrero de Quito, tomando como estudio de caso una de las fábricas de textiles e hilados de la ciudad, entre los años treinta y noventa del siglo XX. El autor presenta, en primer lugar, una descripción sobre la industria en la ciudad, para centrar, luego, su atención en la Fábrica La Industrial, su producción textil, ambiente de trabajo y dinámicas internas, la vida de los obreros, su organización sindical y relaciones con los propietarios de la fábrica. Las fuentes que alimentan el análisis son documentación proveniente de los acervos administrativos de la fábrica, litigios, notas de prensa relacionadas con las protestas y movilizaciones sociales de los trabajadores en reivindicación de sus demandas salariales y laborales, así como testimonios de exobreros de La Industrial.

Sarah Kane: Cool Britannia's reluctant feminist

Aleks Sierz in his important survey of mid 1990s drama has identified the plays of Sarah Kane as exemplars of what he terms ‘In-Yer Face’ theatre. Sierz argues that Kane and her contemporaries such as Mark Ravenhill and Judy Upton represent a break with the ideological concerns of the previous generation of playwrights such as Doug Lucie and Stephen Lowe, whose work was shaped through recognizable political concerns, often in direct opposition to Thatcherism. In contrast Sarah Kane and her generation have frequently been seen as literary embodiments of ‘Thatcher’s Children’, whereby following the fall of the Berlin Wall and the inertia of the Major years, their drama eschews a recognizable political position, and seems more preoccupied with the plight of individuals cut adrift from society. In the case of Sarah Kane her frequently quoted statement, ‘I have no responsibility as a woman writer because I don’t believe there’s such a thing’, has compounded this perception. Moreover, its dogmatism also echoes the infamous comments attributed to Mrs Thatcher regarding the role of the individual to society. However, this article seeks to reassess Kane’s position as a woman writer and will argue that her drama is positioned somewhere between the female playwrights who emerged after 1979 such as Sarah Daniels, Timberlake Wertenbaker and Clare McIntyre, whose drama was distinguished by overtly feminist concerns, and its subsequent breakdown, best exemplified by the brief cultural moment associated with the newly elected Blair government known as ‘Cool Britannia’. Drawing on a variety of sources, including Kane’s unpublished monologues, written while she was a student just after Mrs Thatcher left office, this paper will argue that far from being an exponent of post-feminism, Kane’s drama frequently revisits and is influenced by the generation of dramatists whose work was forged out the sharp ideological positions that characterized the 1980s and a direct consequence of Thatcherism.