Disappearing Acts: Spectacles of Gender and Nationalism in Argentina's "dirty War"Duke University Press, 1997 - 309 pagina's In Disappearing Acts, Diana Taylor looks at how national identity is shaped, gendered, and contested through spectacle and spectatorship. The specific identity in question is that of Argentina, and Taylor's focus is directed toward the years 1976 to 1983 in which the Argentine armed forces were pitted against the Argentine people in that nation's "Dirty War." Combining feminism, cultural studies, and performance theory, Taylor analyzes the political spectacles that comprised the war--concentration camps, torture, "disappearances"--as well as the rise of theatrical productions, demonstrations, and other performative practices that attempted to resist and subvert the Argentine military. Taylor uses performance theory to explore how public spectacle both builds and dismantles a sense of national and gender identity. Here, nation is understood as a product of communal "imaginings" that are rehearsed, written, and staged--and spectacle is the desiring machine at work in those imaginings. Taylor argues that the founding scenario of Argentineness stages the struggle for national identity as a battle between men--fought on, over, and through the feminine body of the Motherland. She shows how the military's representations of itself as the model of national authenticity established the parameters of the conflict in the 70s and 80s, feminized the enemy, and positioned the public--limiting its ability to respond. Those who challenged the dictatorship, from the Mothers of the Plaza de Mayo to progressive theater practitioners, found themselves in what Taylor describes as "bad scripts." Describing the images, myths, performances, and explanatory narratives that have informed Argentina's national drama, Disappearing Acts offers a telling analysis of the aesthetics of violence and the disappearance of civil society during Argentina's spectacle of terror. |
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Pagina 69
... claimed the immutability of art . The junta's self - representation as a model of " authentic " citizenship was both exclusionary and transformative , reenacting an us / them divide . The unitary image left out and denied all other ...
... claimed the immutability of art . The junta's self - representation as a model of " authentic " citizenship was both exclusionary and transformative , reenacting an us / them divide . The unitary image left out and denied all other ...
Pagina 102
... claimed there was no censorship , they imposed " guidelines " : " The programs should offer models of Argentineness for each inhabitant of our country ... exalting the values that conform to the desirable models . " 15 The portrayal of ...
... claimed there was no censorship , they imposed " guidelines " : " The programs should offer models of Argentineness for each inhabitant of our country ... exalting the values that conform to the desirable models . " 15 The portrayal of ...
Pagina 222
... claimed as their own . As Jean Franco writes , “ the role of the one who commemorates the dead and does not permit them to be consigned to oblivion is taken by the writer who ' masculinizes ' the Antigone position " ( 131 ) —that is ...
... claimed as their own . As Jean Franco writes , “ the role of the one who commemorates the dead and does not permit them to be consigned to oblivion is taken by the writer who ' masculinizes ' the Antigone position " ( 131 ) —that is ...
Inhoudsopgave
Gendering the National Self | 29 |
Military Males Bad Women and a Dirty Dirty | 59 |
Performing | 91 |
Copyright | |
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Disappearing Acts: Spectacles of Gender and Nationalism in Argentina's ... Diana Taylor Gedeeltelijke weergave - 1997 |
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active allowed Antígona Argentine armed asked associated audience authority became become body Buenos Aires called civil claimed continue cultural dangerous death desire Dirty Dirty War disappeared drama Evita example fact fear feel female feminine feminized figure forces function Gambaro gender historical human identity individual junta Latin leaders live look Madres male means military military's misogyny mothers movement nature notes object organized pain participate Partnoy Patria performance Perón person play Plaza pleasure political population position production represent representation resistance role seems sense sexual silence social society soldier space speak spectacle spectators staged story struggle subversives suggests Teatro Abierto terror theatre theatrical tion torture turn victims violence visible voice watching woman women writing