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 133
... spectators are both the victims and the accomplices . This is our drama , our violence , our dilemma . National and international spectators are confronted with the brutality of political violence that we can't aestheticize , find ...
... spectators are both the victims and the accomplices . This is our drama , our violence , our dilemma . National and international spectators are confronted with the brutality of political violence that we can't aestheticize , find ...
Pagina 134
... spectators watching the violence , on the act of watch- ing itself . There are many ways of watching , some empowering , some disem- powering , some associated with wisdom ( clairvoyance ) , some with perversity and criminality ...
... spectators watching the violence , on the act of watch- ing itself . There are many ways of watching , some empowering , some disem- powering , some associated with wisdom ( clairvoyance ) , some with perversity and criminality ...
Pagina 207
... spectators applaud their actions or look away ? join their movement or cross the street to avoid them ? One letter to the editor of La nación asked the authorities to put an end " to the sad spectacle that we must endure week after week ...
... spectators applaud their actions or look away ? join their movement or cross the street to avoid them ? One letter to the editor of La nación asked the authorities to put an end " to the sad spectacle that we must endure week after week ...
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 |
Disappearing Acts: Spectacles of Gender and Nationalism in Argentina's ... Diana Taylor Geen voorbeeld beschikbaar - 1997 |
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