Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

H.P. (Hans Pozo) by Luis Barrales is a dramatic text, premiered in 2007 by the Theater Company La Nacional under the direction of Isidora Stevenson: a man is found dismembered in the city of Santiago de Chile in the year 2006. The dramatist rewrites history, identifying and proposing some significant fragments of the prevailing cultural system, as it is visualized in Chilean drama at the end of the 20th century and the beginning of the 21st century. These fragmented dramas leave spaces, voids that the reader/spectator is called to complete from their own experience. Enhancing, for this purpose, the role of the author/architect, the one who deconstructs, organizes, and assembles an open, discontinued, proposal that leaves “holes” through which the constructions of meaning could sneak in (Hurtado), and the reader/spectator is confronted with a cruel and violent spectacle that accounts for a reality of a society controlled by dominating social groups. Barrales hands over an interpretive key to access the text, for the businessman uses the power he holds by appropriating a body, transforming it into his object of desire, evidencing a link of domination between the market and the corporeal. The aim of this research is to analyze the dramatic text of H.P. (Hans Pozo) from the drama’s textuality according to the following categories: heteronormative society, repressed human behavior, homosexuality, and cruel images. The theoretical-critical discussions of Brossi, Foucault, and Spargo are fundamental in this case to approach the field of gender, sexuality, and masculinities, like Antonin Artaud, to stage cruelty in an investigative manner as a violence device. Barrales’ work forges a bridge with Artaud by introducing us to human beings, social, political, and cultural conflicts that travel through our history and inhabit our territory. Violence and cruelty act as a writing tradition, but they also create a viewpoint to observe our time and its vulnerating practices.

Escenarios de guerra indaga en la memoria, como aquella faceta en la que se recuerda y vuelve una y otra vez a ciertas inquietudes y limitaciones del afecto. La narradora lleva a la escena los conflictos de los orígenes de su familia, las incertidumbres políticas y los desencuentros personales que marcan su vida como un camino de guerra, que deja heridas ocultas. La narración está marcada por la compulsión a la repetición, la represión del eros y la melancolía. Sin embargo, la historia se relata desde una conciencia dramática que permite también una reflexión sobre la propia identidad, la identidad de los seres cercanos y la relación con estos. Este estudio aborda la obra desde distintos modelos psicocríticos para tratar las motivaciones de la protagonista y desde la identidad narrativa ricoeuriana para explicar el proceso de construcción de la identidad a través del discurso.

The manuscript studies the feminization of aging and the stage of old age, a relevant and contingent theme associated with the increase in longevity rates. However, living more reveals the irrefutable differences of this process, between men and women, together with the accumulated inequalities in the life courses of the latter. These are presented in a spectrum between the opportunities or barriers to participation and development of their old age, which in the case of this study, take place in daily or frequent interaction with a city in southern Chile, categorized as friendly to people greater. The method is qualitative and its purpose is to describe and typify the meanings that older women build through their subjective interpretations of said city. For this, semi-structured individual interviews are carried out with four women who are related to the city of Valdivia. The analysis of qualitative narratives is used with the Constructionist Grounded Theory (CFT) procedure through open and axial coding procedures. The main findings found are about the processes of exclusion and age discrimination that they mention living and feeling, and that occur mainly in public services.

This article explores the link between body and sewing in Ramona Montiel, a character developed by the Argentine artist Antonio Berni since the 1970´s. Through the incorporation of fabrics, lace or trimmings in the molding blocks, his xilocollages narrate the story of a seamstress who -despite her efforts and faced with the misery of the trade- incurs in prostitution to survive. The particularity lies in the fact that -as part of a plastic exercise inherent to the avant-garde- these remains would correspond to textile productions made by anonymous women and silenced by the hegemonic discourse, thanks to the decoding of widely spread patterns for the modeling of the female role in both angel of the home, reproducer and guardian of certain traditional values. However -by being placed in the work- those scraps and fabrics un/dress the body of the prostitute, generating a dislocation between the private space of embroidery and the public space of dishonor; through the eroticization of Montiel and the invisibility of real women: the one who embroiders. In this sense, the pose, the curtain, the quilts would place us before certain possibilities of being/doing feminine that are historically and socially conditioned; considering the incursion of Berni himself as a clandestine photographer in the brothels of Pichincha, Rosario; from 1933.

The mass media, as builders of social imaginaries, have contributed from the beginning to the negative representation of some groups of citizens. This situation has increased when there is an intersection of variables that generates even more discrimination, in this specific case, for being a woman and for being indigenous. This article aims to analyze the representation of Mapuche women in Chilean digital mass media during the hunger strike of Machi Celestino Córdova and eight Mapuche political prisoners. For this, will be analyzed 87 news items published by media outlets throughout Chile between May 11 and August 7, 2020.

The main idea of this paper is to make known the processes that women lived in the nineteenth century regarding discrimination, egocentrism and submission to which they were subjected and how literature was predominant to give value to these brave and hardworking characters called "literary women" who with their writings broke the molds, stereotypes and square minds that predominated thanks to previous cultures, in order to make known through history, facts, events and important dates that were marking the transition of the rise of the female voice from one century to another. As an objective of the writing is also to inquire about the different areas in which women were silenced but also the positive impact that has been achieved thanks to the legacy of some women who through literature opened that path that although narrow has been formed for women to express that accumulation of knowledge that each one has and thus motivate new generations to empower themselves and be women of change; starting in our environment, and then break down barriers and take that change out of our comfort zone, why not say it to other countries, with other women in the world.

L’immagine di Frida Kahlo è ormai da tempo un’icona universale. Nondimeno la biografia dell’artista, altrettanto nota, sembra capace di toccare le corde più intime dell’animo umano ed è tanto ricca da generare continue riscritture e reinterpretazioni. In particolare, rileviamo la persistenza del personaggio e della sua inconfondibile immagine negli albi illustrati, nei quali, oltre alla passione dell’arte, attraverso la storia e le storie di Frida, emergono i temi dell’identità, della malattia, della disabilità, dell’amore, della fragilità, del genere. Il presente contributo si propone di osservare alcune tra le più significative pubblicazioni dedicate alla pittrice che hanno fatto la loro comparsa nel panorama editoriale destinato ai ragazzi negli ultimi venti anni in Italia e di evidenziare le scelte tematiche e stilistiche operate da autori e illustratori impegnati nel racconto della vita di un simbolo della cultura latinoamericana, espressione di resilienza, anticonformismo e emancipazione.

In this paper we shall analyse representative and inspiring examples of male and female characters with disabilities within contemporary literature written in Spanish that challenge the preconceived, discriminatory and scarcely comprehensive and currently dominant archetypes of masculinity, femininity and disability. Our analysis will be based on a review of the traditional and hegemonic paradigmatic models and identities attributed to men, women and people with disabilities in our cultures and communities, as well as on the claims and new trends stemming from gender studies and disability studies, which demand a conceptual and social evolution towards more holistic perceptions of the difference which recognise and allow for diverse, plural and intersectional identities. These coinciding requests and reconceptualisations in both fields of study share an interest in the theory of intersectionality and in a conception of language as tool to build realities and identities, among other common grounds. These two key theoretical proposals enable progress towards more realistic, critical, informed and inclusive representations of human diversity in fields of cultural production, such as literature. Thus, we shall advocate for an alliance between gender studies and disability studies which may contribute to more inclusive practices in the rewriting and reshaping of texts and societies.

  This paper aims at analyzing the complex female constructions of identity, trauma and personal failure in Martin McDonagh’s The Beauty Queen of Leenane (1996), and Eimear McBride’s A Girl Is a Half Formed Thing (2013). As the title suggests, “No Angels in the House” refers to the central role motherhood has firmly held in traditional Irish society, and how progressively this sublimination of the mother figure has evidenced a deeper somber side of domestic life.  I explore the concept of the maternal in both works, and how the devastating consequences of a rigid religious upbringing will stigmatize the protagonists’ lives forever. I also analyze the post-traumatic stress disorder that the two female protagonists suffer when they fail to assert themselves in such hostile environment. In this framework, the final part of this work is devoted to reflecting upon the acknowledgement of personal failure and the impossibility of redemption. The illusion of freedom coupled with the sociocultural breeding provoke the subversion of the moral edicts, and the death of the protagonists who seem to disintegrate and fade away into a non-existence of their own. Key words: female Irish identity, abuse, trauma, failure.

Intellectual, cultured and raised in an environment that favored artistic creation, the American siblings Edward Everett Hale (1822-1909) and Susan Hale (1833-1910) traveled through Spain with other members of their family in 1882. About Spain, its culture, its population and the individual observations of each author, two texts of very different nature emerge: A Family Flight Through Spain (1883) by Susan and Seven Spanish Cities and the Way to Them (1883) by Edward. The first differences between these two travel narratives can be appreciated just from the title: Edward's seems to be more traditional, scholarly and professional, while Susan's may give the impression of being more intimate and personal, perhaps aimed to a different type of audience.  This paper focuses on comparing and analyzing the texts from a contrastive point of view, highlighting the similarities and differences that can be established between them in terms of perspective, subject matter and content, paying special attention to the way tradition and gender roles may exist and appear in these two travel books.