968 resultados para Jacques Rancière
Resumo:
Trafficking in human beings has become one of the most talked about criminal concerns of the 21st century. But this is not all that it has become. Trafficking has also been declared as one of the most pressing human rights issues of our time. In this sense, it has become a part of the expansion of the human rights phenomenon. Although it is easy to see that the crime of trafficking violates several of the human rights of its victims, it is still, in its essence, a fairly conventional although particularly heinous and often transnational crime, consisting of acts between private actors, and lacking, therefore, the vertical effect associated traditionally with human rights violations. This thesis asks, then, why, and how, has the anti-trafficking campaign been translated in human rights language. And even more fundamentally: in light of the critical, theoretical studies surrounding the expansion of the human rights phenomenon, especially that of Costas Douzinas, who has declared that we have come to the end of human rights as a consequence of the expansion and bureaucratization of the phenomenon, can human rights actually bring salvation to the victims of trafficking? The thesis demonstrates that the translation process of the anti-trafficking campaign into human rights language has been a complicated process involving various actors, including scholars, feminist NGOs, local activists and global human rights NGOs. It has also been driven by a complicated web of interests, the most prevalent one the sincere will to help the victims having become entangled with other aims, such as political, economical, and structural goals. As a consequence of its fragmented background, the human rights approach to trafficking seeks still its final form, consisting of several different claims. After an assessment of these claims from a legal perspective, this thesis concludes that the approach is most relevant regarding the mistreatment of victims of trafficking in the hands of state authorities. It seems to be quite common that authorities have trouble identifying the victims of trafficking, which means that the rights granted to themin international and national documents are not realized in practice, but victims of trafficking are systematically deported as illegal immigrants. It is argued that in order to understand the measures of the authorities, and to assess the usefulness of human rights, it is necessary to adopt a Foucauldian perspective and to observe the measures as biopolitical defence mechanisms. From a biopolitical perspective, the victims of trafficking can be seen as a threat to the population a threat that must be eliminated either by assimilating them to the main population with the help of disciplinary techniques, or by excluding them completely from the society. This biopolitical aim is accomplished through an impenetrable net of seemingly insignificant practices and discourses that not even the participants are aware of. As a result of these practices and discourses, trafficking victims only very few of fit the myth of the perfect victim, produced by biopolitical discourses become invisible and therefore subject to deportation as (risky) illegal immigrants, turning them into bare life in the Agambenian sense, represented by the homo sacer, who cannot be sacrificed, yet does not enjoy the protection of the society and its laws. It is argued, following Jacques Rancière and Slavoj i ek, that human rights can, through their universality and formal equality, provide bare life the tools to formulate political claims and therefore utilize their politicization through their exclusion to return to the sphere of power and politics. Even though human rights have inevitably become entangled with biopolitical practices, they are still perhaps the most efficient way to challenge biopower. Human rights have not, therefore, become useless for the victims of trafficking, but they must be conceived as a universal tool to formulate political claims and challenge power .In the case of trafficking this means that human rights must be utilized to constantly renegotiate the borders of the problematic concept of victim of trafficking created by international instruments, policies and discourses, including those that are sincerely aimed to provide help for the victims.
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Na virada para o sculo XXI artistas e curadores em bienais e outras exposies internacionais esto adotando formas colaborativas e educacionais de fazer arte e curadoria envolvendo artistas e no artistas, comunidades, escolas e outras instncias sociais. Essas iniciativas criam encontros interdisciplinares onde imbricaes entre arte e no-arte so colocadas em questo, considerando contextos sociopolticos mundiais, a globalizao e outros temas ps-colonialistas. A dissertao examina as aproximaes e atravessamentos de culturas e identidades, questes de centro e periferia, local e global gerando entre-lugares e o interesse por propostas de site-oriented, geradoras de situaes de convivncia, compartilhamento de experincias coletivas e prtica educativa. A pesquisa reflete sobre as intenes dos artistas, curadores, a participao do pblico e o dilogo entre diferentes discursos crticos e campos do conhecimento em projetos com essas caractersticas. O estudo de caso o projeto Cadernos de Viagem, projeto de residncia artstica e exposio, realizado na 8 Bienal do Mercosul, em Porto Alegre, Brasil, 2011. Diversos tericos como Homi Bhabha, Jacques Rancière, Nicolas Bourriaud, Claire Bishop, Grant Kester, Miwon Kwon, Moacir dos Anjos e Flix Guattari, so abordados, entre outros
Resumo:
A pesquisa surgiu a partir de investigaes e experincias prprias com a escuta, a produo de sonoridades, a criao de ambientes e a realizao de derivas intersensoriais. A articulao se d segundo uma perspectiva transdisciplinar e em relao a alguns trabalhos artsticos e textuais especialmente significativos. A construo do sensorial e das subjetividades e suas possibilidades de transformao e emancipao, atravs de uma arte vinculada vida, so questes centrais. Os conceitos de fabulao, linhas, cartografias e desterritorializaes desenvolvidos por Deleuze, a ecosofia de Flix Guattari e a noo de corpos vibrteis em Suely Rolnik so fundamentais, assim como as observaes de Lygia Clark e Hlio Oiticica a respeito de suas prprias experincias. Estudos histricos e culturais dos sentidos, como os de Constance Classen e David Howes, alm de observaes de tericos distintos como Karl Marx, Walter Benjamin, Michel Serres e Jacques Rancire auxiliam a traar um panorama inicial do constructo sensorial no Ocidente moderno e contemporneo. Questes relativas a som, silncio e rudo levaram utilizao de conceitos como escuta e ressonncia em um sentido ampliado, que no se restringe a fenmenos sonoros ou fsicos. A articulao entre escuta, intersensorialidade, imaginao e memria contribuiu para o desenvolvimento inicial do conceito de terceiro som aqui presente. A percepo do texto como ativador de sensaes e devaneios, as relaes entre conceito e concreto e o relato no-realista de acontecimentos levaram s fices experimentadas. O ato da deriva relaciona-se ao desregramento de todos sentidos e implica a vivncia de margens, desvios e extremos, fronteiras em dissoluo, disporas nos interstcios. Poticas e polticas da alteridade, da diferena e do estranhamento fazem-se presentes em experincias de um ambiente-vivo, paisagem-corpo-outro. Tais questes atravessam meus trabalhos, que so realizados de diferentes maneiras, em cartografias e rituais que podem incluir sons, textos, desenhos, objetos, fotografia, vdeos, vestimentas, aes, situaes, etc. A abordagem das questes presentes se d atravs de algumas passagens por escritores como Rimbaud, Borges e Italo Calvino; tericos de diferentes reas, como Guy Brett, Douglas Kahn, De Certeau, Michel Onfray, James J.Gibson e Donna Haraway; e trabalhos e textos de diversos artistas fundamentais, como Marcel Duchamp, John Cage, Allan Kaprow, George Maciunas e o Fluxus, Yoko Ono, Laurie Anderson, Gordon-Matta-Clark, Robert Smithson, Bill Viola, Cildo Meireles e Lygia Pape, entre outros
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Este um texto que se constri sobre uma linha frgil, contraditria talvez. Acredita na impossibilidade de transmitir uma experincia narrada, mas que, ao mesmo tempo, tenta fazer-se experincia em certo tipo de narrao. Um desafio; um risco que corremos ao escrever sobre os efeitos das prticas de filosofia com crianas da Escola Municipal Pedro Rodrigues do Carmo, de Duque de Caxias, RJ,envolvidas com o projeto de extenso universitria 'Em Caxias, a filosofia em-caixa?A escola pblica aposta no pensamento', coordenada pelo professor Walter Omar Kohan e desenvolvido pelo Ncleo de Estudos Filosficos da Infncia (NEFI) da Universidade do Estado do Rio de Janeiro (UERJ). Como professor envolvido comeste projeto desde 2009, pude notar alguns aspectos nestas prticas que apontavam indcios de que uma outra relao com os tempos, os saberes e as infncias eram possveis na complexidade cotidiana de uma escola. Tomando tais indcios como pistas de uma investigao, buscou-se compreender como estes temas se relacionavam com a escola e com os sujeitos formados por ela. A opo esttica para este texto foi apresent-lo como uma experincia de filosofia, partindo de uma 'disposio inicial', onde se apresenta de maneira leve as propostas deste escrito;passando pela 'vivncia de um texto', onde apresentar-se- o projeto 'Em Caxias, a filosofia em-caixa?' como texto a ser experienciado; rumando para uma 'problematizao', de onde se levantam questes acerca deste texto; passando para a 'escolha de questes' a serem abordadas; indo, pois, para o 'dilogo' com os autores acerca dos temas eleitos e finalizando com um momento que chamamos de 'para continuar pensando', que de maneira alguma representa o fim derradeiro de uma questo. Para este dilogo, foram convidados W. Kohan e suas percepes sobre a infncia, M. Foucault e suas contribuies sobre as relaes de saber/poder,e, a partir dele, se estabelece uma relao com Jorge Larrosa que se prope a discutir a formao do sujeito e as possibilidades da filosofia e da educao.Partindo de referenciais tericos distintos, mas encontrando pontos de convergncias com estas discusses, temos o harendtiano Jan Masschelein e suas consideraes sobre a profanao e a suspenso dos saberes e a dissonante voz de Jacques Rancière e suas proposies sobre emancipao e embrutecimento. A ltima parte deste escrito consiste nas consideraes finais acerca das discusses e a ponta algumas possibilidades de construo de um espao/tempo onde as relaes entre sujeitos e saberes pode se dar de uma outra maneira.
Resumo:
Elegendo como aporte terico principal as ideias de Jacques Rancière sobre partilha do sensvel, emancipao, polcia, poltica, esttica, espectador e as teorias de Alain Bergala sobre a hiptese-cinema e o uso dos filmes em sala de aula, este trabalho teve por objetivo refletir em que medida a experincia do cineclube Prisma, criado na escola do presdio Evaristo de Moraes no Rio de Janeiro, constituiu mais um espao pedaggico de reproduo de sentidos, corroborando com a constatao de que escola e priso so, ambas, instituies que no permitem outras perspectivas de trabalho seno aquelas que hierarquizam pessoas e percepes. A partir disso, vislumbramos tambm, uma outra via possvel, que no demoniza a escola, porm a coloca como espao para uma outra proposta do uso dos filmes, na qual o cinema visto em toda a sua potncia esttica e dissensual.
Resumo:
Since the 'completion' of Histoire(s) du cinema (1988-1998), Jean-Luc Godard's work has become increasingly mosaic-like in its forms and configurations, and markedly elegiac in its ruminations on history, cinema, art, and thought. While his associative aesthetic and citational method including his choice of actors, and the fragmentariness of his soundtracks can combine to create a distinctive cinematic event, the films themselves refuse to cohere around a unifying concern, or yield to a thematic schema. Not surprisingly, Film Socialisme does not offer us the illusion of narrative or structural integrity anymore than it contributes to the quotidian rhetoric of political and moral argument. It is, however, a political film in the sense that it alters something more fundamental than opinions and points of view. It transforms a way of seeing and understanding reality and history, fiction and documentary, images, and images of images. If anything, it belongs to that dissident or dissensual category of artwork capable of emancipating the spectator by disturbing what Jacques Rancière terms the distribution of the sensible in that it generates gaps, openings, and spaces, poses questions, invites associations without positing a fixed position, imposing an interpretation, or allowing itself to invest in the illusion of expressive objectivity and the stability of meaning. The myriad citations and fragments that comprise the film are never intended to culminate into anything cohesive, never mind conclusive. In one sense, they have no source and no context beyond their moment in the film itself, and what we make of that moment. This article studies the degree to which Godard allows these images and sounds to combine and collide, associate and dissolve in this film, arguing that Film Socialisme is both an important intervention in the history of contemporary cinema, and necessary point of reference in any serious discussion of the relations between that cinema and political reality.
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The goal of this thesis is to look at the critical and dissenting value of exhibitions through the examination of four cases studies, based on six exhibitions taking place between 1968 and 1998 in Latin and North America. The exhibitions belong to the history of modern and contemporary exhibitions and curating, a field of research and study that has only started to be written about in the last two decades. This investigation contributes to it, in its creation of new genealogies by connecting previously overlooked antecedents, or by proposing new relations within established lineages, at the intersection of a specific historiography; to address exhibitions, a tradition of artists acting as curators and an emerging history of curating. The examined exhibitions were put together by artists or artist collectives and were placed in a liminal position between artistic and curatorial practice. All the cases presented a distinct proposal in relation to art and social change, a fact that connects them, in their aims and modus operandi, to a Marxist and neo-Marxist critical and transformative legacy. The cases address the following connections: exhibition as political site (Tucumn Arde, 1968); exhibition as social space (The Peoples Choice (Arroz con Mango), 1981); exhibition as encounter (Rooms with a view, We the People, Art/Artifact, 1987-88); and exhibition as an exchange situation (El Museo de la Calle, 1998-2001). Key to their analysis is the concept of dissensus, as put forward by Jacques Rancière. Within this theoretical framework, these exhibitions put into practice particular cases of dissensus in a given distribution of the sensible. All of them tried to deal with their thematic concerns by performing them as a praxis. They dissent with the way in which reality was formatted in their historical moment and challenge the exhibition medium itself opening new ways of doing and making in the exhibition field. Therefore, in this thesis the dissenting value of exhibitions is closely related to its main features as a medium, namely their temporality, heterogeneity and flexibility, which contribute to their potential for creative analysis and propositioning. In the case of these exhibitions, this capability is brought into play for institutional interrogation, for offering alternative cultural narratives and also for inspiring new imaginary realms.
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In this paper I look into the life and art of May Stevens, an American working class artist, feminist and committed political activist. I am particularly interested in how Stevens' artwork is inextricably interwoven with her politics, constituting, as I will argue, an assemblage of artpolitics. The discussion draws on Jacques Rancière's analyses of the politics of aesthetics and particularly his notion of the distribution of the sensible. What I argue is that although Rancière's approach to the politics of aesthetics illuminates an understanding and appreciation of Stevens' art, his idea about the redistribution of the sensible is problematic. It is here that the notion of artpolitics as an assemblage opens up possibilities for a critical project that goes beyond the limitations of Rancière's proposition.
Resumo:
What are we to do with the writing of Biesta? Raising the same question in relation to Jacques Rancière, in a 2010 study co-authored with Charles Bingham, Gert J. J. Biesta takes the writer of a short, disparaging review of The Ignorant Schoolmaster to task for schooling Rancière on the inadequacies of the book reviewed (Biesta & Bingham 2010, 145-148). Readers of Biesta cheering on from the sidelines at this point are placed in an uncomfortable double bind if they are to take this suggestion seriously when reviewing his own work. We are not, Biesta and Bingham (2010, 148) suggest, to police interpretations like a vigilant schoolmaster in possession of superior knowledge but rather proceed as a child who looks forward to the sound of the bell and to speak as if truant.
Resumo:
Rsum Ce travail cherche rvler les stratgies utilises dans Palinuro de Mxico (1977) de Fernando del Paso pour reprsenter lhistoire du mouvement tudiant de 1968, qui se termina par le massacre de Tlatelolco. Afin de protger son image, le gouvernement censura cet vnement, qui compte parmi les plus marquants de lhistoire contemporaine du Mexique. Nous situons Palinuro de Mxico dans un corpus littraire qui rsiste au silence impos par les autorits avec la cration dune potique capable de raconter lhistoire et de dnoncer la censure. Notre hypothse sappuie sur les rflexions de Paul Veyne et Jacques Rancière, qui dmontrent que lcriture de lhistoire ne possde pas de mthode scientifique, mais procde plutt dune construction littraire. Cela nous permet daffirmer que lhistoire, puisquelle relve de la littrature, peut aussi tre raconte dans un roman. La thorie de la littrature carnavalesque de Mijail Bajtin, qui se caractrise par le rire, la libert dexpression et lopposition aux rgles officielles, nous sert identifier les procds utiliss dans Palinuro de Mxico pour crer une mmoire de Tlatelolco. Ce style rappelle la vitalit du mouvement tudiant, en soulignant la joyeuse subversion des valeurs. De plus, son caractre polyphonique permet dinclure une pice de thtre dans un roman et de confronter les diffrentes idologies qui sopposaient durant le conflit.
Resumo:
Il est dsormais commun de reconnatre que le cinma, aujourdhui, smancipe de son dispositif mdiatique traditionnel, adoptant maintes formes lies aux champs culturels qui laccueillent : jeux vido, web, mdias portatifs, etc. Toutefois, cest peut-tre le champ des arts visuels et mdiatiques contemporains qui lui aura fait adopter, depuis la fin des annes soixante, les formes les plus dsincarnes, allant parfois jusqu le rendre mconnaissable. cet effet, certaines uvres sculpturales et installatives contemporaines uniquement composes de lumire et de vapeur semblent, par leurs moyens propres, bel et bien reprendre, tout en les mettant lpreuve, quelques caractristiques du mdium cinmatographique. Bas sur ce constat, le prsent mmoire vise analyser, sur le plan esthtique, cette filiation potentielle entre le mdia-cinma et ces uvres au caractre immatriel. Pour ce faire, notre propos sera divis en trois chapitres sintressant respectivement : 1) lclatement mdiatique du cinma et sa requalification vue par les thories intermdiales, 2) au processus dvidement du cinma la perte de ses images et de ses matriaux dans les pratiques en arts visuels depuis une cinquantaine dannes, et 3) au corpus de lartiste danois Olafur Eliasson, et plus spcialement son uvre Din Blinde Passager (2010), qui est intimement lie notre problmatique. Notre rflexion sera finalement, au long de ce parcours, principalement guide par les approches esthtiques et philosophiques de Georges Didi-Huberman et de Jacques Ranire.
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Les paramtres de lexil, comme dplacement, se transforment aujourdhui dans un contexte de mondialisation, interrogeant le rle des nations alors que les socits impliquent de plus en plus de mobilit et de diversit culturelle. Cette condition dexil aux repres mouvants, inscrite dans une temporalit discontinue et dont lexprience est toujours douloureuse, a donn lieu une littrature prolifique dans le domaine des tudes littraires au cours du 20e sicle. En quoi le 21e propose-t-il un regard diffrent sur cette condition ? Dans ce mmoire nous analyserons quatre uvres contemporaines qui nous proposent diffrentes variations des transformations identitaires profondes qui caractrisent la condition dexil. Deux des grands axes autour desquels sest articule la condition dexil ont t dvelopps par Edward Said, qui propose une posture critique et politique, et Julia Kristeva, qui prsente lexil comme une condition plutt psychique. Suivant cette perspective analytique, lautobiographie de Mourid Barghouti fait cho la comprhension de lexil telle que lentend Said, en pleine autonomie instauratrice. Puis, le roman de Rawi Hage dans une exprience plus psychique de lexil, plus traumatique et plus violente du vcu avant lexil, suggre que le rapport avec le milieu environnant a un impact sur lexprience de lexil, alors que dans ce cas il reste dysfonctionnel, et quun rapport pathologique lexistence peut ensuite se manifester. Ensuite, le roman dAbla Farhoud expose la possibilit dun dpassement de cette exprience pathologique de lexil par la distance, celle de lge et de la prise de parole. Finalement, dans la pice Incendies de Mouawad, lexprience psychique de lexil est dpasse la fois par une traduction de lindicible de la violence, par un retour sur les traumas prcdant lexil, et par un travail collectif comme autres formes de distances. Cette dernire uvre est donc porteuse dune comprhension de lexil impliquant une dimension psychique, tout en devenant critique et politique, telle que le rvlent les crits de Jacques Rancière. la lumire de ces analyses, la condition dexil rclame durgence un retour sur les traumas prcdents, le trauma quest lexil, afin quune autonomie, une crativit et un engagement sen dgagent, dans une socit, dans un monde plus grand que soi. Pour les trois derniers auteurs, cest la socit qubcoise qui rvle la fois une comprhension des problmatiques majeures de la condition dexil et une ouverture face celles-ci, en ce dbut de 21e sicle.
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Cette lecture, tant critique, comparative, et thorique que pdagogique, sancre dans le constat, premirement, quil advient aux tudiantEs en littrature de se (re)poser la question des cots et complicits quapprendre lire et crire prsuppose aujourdhui; deuximement, que nos pratiques littraires se trament au sein de lieux empreints de diffrences, que lon peut nommer, selon le contexte, mtaphore, rcit, ville; et, troisimement, que les efforts et investissements requis sont tout autant couteux et interminable quun plaisir et une ncessit politique. Ces conclusions tendent vers labstrait et le thorique, mais le langage en lequel elles sont articules, langage corporel et urbain, de la dpendance et de la violence, cherche dautant plus une qualit matrielle et concrte. Or, lintroduction propose un survol des lectures et comparaisons de Heroine de Gail Scott qui centre ce projet; identifie les contextes institutionnels, historiques, et personnels qui risquent, ensuite, de dcentrer celui-ci. Le premier chapitre permet de cerner le matrialisme littraire qui me sert de mthode par laquelle la littrature, la fois, sollicite et offre une rponse ces interrogations thoriques. Inspire de luvre de Gail Scott et Rjean Ducharme, premirement, et de Walter Benjamin, Elisabeth Grosz, et Pierre Macherey ensuite, matrialisme fait rfrence cette collection de figures de pratiques littraires et urbaines qui proviennent, par exemple, de Georges Perec, Michel DeCerteau, Barbara Johnson, et Patricia Smart, et qui invitent ensuite une rflexions sur les relations entre corporalit et narrativit, entre la ncessit et la contingence du littraire. De plus, une collection de figures dun Montral littraire et dune cit pdagogique, acquis des uvres de Zygmunt Bauman, Partricia Godbout, et Lewis Mumford, constitue en effet un vocabulaire nous permettant de mieux dcouvrir (et donc enseigner) ce que lire et apprendre requiert. Le deuxime chapitre propose une lecture compare de Heroine et des romans des auteures qubcoises Anne Dandurand, Marie Gagnon, et Tess Fragoulis, dans le contexte, premirement, les dbats entourant linstitutionnalisation de la littrature (anglo)Qubcoise et, deuximement, des questions pdagogiques et politiques plus larges et plus urgentes que nous pose, encore aujourdhui, cette violence rcurrente qui sacharna, par exemple, sur la Polytechnique en 1989. Or, cette intersection de la violence meurtrire, la pratique littraire, et la pdagogie qui en rsulte se pose et sarticule, encore, par le biais dune collection de figures de styles. En fait, travers le roman de Scott et de luvre critique qui en fait la lecture, une srie de craques invite reconnatre Heroine comme tant, ce que jappelle, un rcit de dpendance, au sein duquel se concrtise une temporalit rcursive et une logique dintrojection nous permettant de mieux comprendre la violence et, par consquent, le pouvoir dune pratique littraire sur laquelle, ensuite, jappuie ma pdagogie en devenir. Jetant, finalement, un regard rtrospectif sur loeuvre dans son entier, la conclusion de ce projet se tourne aussi vers lavant, cest--dire, vers ce que mes lectures dites matrialistes de la littrature canadienne et qubcoise contribuent mon enseignement de la langue anglaise en Core du Sud. Cest dans ce contexte que les propos de Jacques Rancière occasionnent un dernier questionnement quant lhistorique des dbats et des structures pdagogiques en Core, dune part, et, de lautre, les conclusions que cette lecture de la fiction thorique de Gail Scott nous livre.
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En el marco de la reparacin a las vctimas del conflicto armado en Colombia, se han desarrollado iniciativas de carcter simblico como la construccin de memoria histrica, en donde confluyen elementos de carcter artstico y cultural que buscan relatar lo sucedido y restaurar los lazos sociales quebrantados. A continuacin, se analiza la manera en que estas iniciativas de construccin de memoria histrica a partir del arte, en el municipio de El Salado, se pueden considerar como un acto esttico que configura la sensibilidad de los espacios y los tiempos para generar la visualizacin y reconocimiento de quienes se han visto vulnerados por la violencia. Se utilizan las teoras de Paul Ricoeur y Jaques Rancière como herramienta fundamental de anlisis, as como las manifestaciones artsticas realizadas por los colectivos de vctimas y el CMH, con el fin de explicar la funcionalidad poltica y las relaciones que se establecen entre las dos variables fundamentales del trabajo, el arte y la memoria.
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El inters de esta monografa es realizar un anlisis del arte callejero o graffiti desde la teora poltica de Jacques Rancière. Para ello se tomaron como unidades de anlisis tres graffitis de la ciudad de Bogot: El Beso de los Invisibles, Pas de Mierda de Jaime Garzn y Las Victimas, que, por sus caractersticas, permiten la aplicacin de las categoras fundamentales de la esthesis poltica del autor. Los puntos de partida que guan a esta monografa se centra en la transformacin de la ciudad a partir del arte urbano y en cmo los graffitis se han convertido en una forma de comunicacin alternativa que se presenta en la ciudad. Tambin se establece como premisa fundamental la importancia de ver otras maneras del hacer poltico, ya que muestra cmo a travs del arte callejero se puede crear una transgresin, una subversin del sentido original para llegar as a la reivindicacin de nuevos sujetos polticos
