Memory, art and intergenerational transmission. Artistic practices with young people in memory sites in Argentina

This text analyzes recent experiences with young people from Middle Schools of the city of Buenos Aires (Argentina) in Memory Sites of this city. Our inquiry is interested in the intergenerational transmission referring to the traumatic past around the last military dictatorship established in Argentina between 1976 and 1983. With this interest, two experiences designed through artistic languages are analyzed: the Posters Project from the Memory Park and the use of poetry in the guided visits to the Memory Site at "El Olimpo", former Clandestine Detention Center for Torture and Extermination, both spaces of the city of Buenos Aires.

Jewish Brazilian Post-Holocaust Fiction: The Body as a Source of Polymorphous Memory Discourse in Cíntia Moscovich’s Por que sou gorda, mamãe?

In this article, I propose a reading of the Brazilian novel Por que sou gorda, mamãe? (2006) through the prism of the body as an oblique signifier of polymorphous post-Holocaust memory discourse. I will be employing the idea of the “strange body” in the following, that is, an experience of estrangement that can arise from trauma-induced conflict or fracture and “is capable of testifying to complexes of social operations and realities well beyond not only a given subject, but also a given generation” (Atkinson 2017, 34). In Cíntia Mos­covich’s novel, this strange-bodiness is articulated through the uncanny presence of an obese Jewish female body; a body which bears witness to a subversive force of trauma and denounces the fascist ideology within the continuities of subtly intertwined European and Brazilian histories. European Jewish life in shtetlech, pogroms, exile, and the Holocaust merge not only with the Brazilian context of Jewish immigration, but also with the history of Brazilian military dictatorship (1964-1985).

Against the Authoritarian Orator and His Pater familias: Deviant Literarity and Orphaned Speech in El padre mío by Diamela Eltit and Lotty Rosenfeld

Published in the last year of Augusto Pinochet Ugarte’s military dictatorship saw its end, My Father (El padre mío) constitutes an interprofessional, collaborative work between Chile National Literature Prize winner Diamela Eltit and visual artist Lotty Rosenfeld, composed of unaltered transcriptions of three monologues (dis)articulated by a schizophrenic vagrant who referred to himself as My Father. By re-enacting the vagrant’s irrational utterances in a truthful but parodic manner, Eltit and Rosenfeld “orphaned” these spoken words into a work of written literature that mocked the authoritarian voice of the dictator who had imposed himself as the Grand Orator of the Nation and the Father of Chile. The main objective of the present work, which is principally based on the conceptualization of Mute Speech by Jacques Rancière, is to examine the political dimension of Eltit and Rosenfeld’s aesthetic endeavor: through an exploration of the possibilities of political emancipation that the vagrant’s fatherless monologues fostered in My Father, our study demonstrates that what neoliberal civil society presupposes as objectionable animalistic noises may be capable of intervening in what Rancière refers to as the “distribution of sensible” and its consolidated aesthetics of hierarchy, thus subverting the fable of pater familias and pater patriae concocted by Pinochet’s right-wing military regime.

Transitional Justice measures implemented in Argentina: their psychosocial impact

Terrorism carried out by State forces is the most reprehensible action to be taken because the power and resources of a country are used to generate terror. Such power and resources are aimed at reaching certain political goals instead of serving the citizens. Transitional Justice has raised complex debates related to democratisation, human rights and the reconstruction of the State and its institutions after periods of severe social conflict. After the last military dictatorship in Argentina (1976-1983), different transitional justice mechanisms were implemented to cope with the consequences of the State’s collective violence: Truth Commission, criminal trials, institutional reforms, as well as reparatory gestures. A descriptivecorrelational study of group difference was developed, with a non-experimental cross-sectional design. It was aimed at analysing the psychosocial impact of transitional justice measures taken in Argentina. The study was conducted on a non-probabilistic sample composed of 576 participants. Findings support the effectiveness of combined Transitional Justice measures, the weakness of recognition of criminal acts and apologies, and significant differences in terms of violence affectation. Received: 20 September 2021Accepted: 25 November 2021

O cotidiano do verso (in-verso): revoluções poéticas em Ana Cristina César e Paulo Leminski / The daily life of the verse (in-verse): poetic revolutions in Ana Cristina César and Paulo Leminski

Resumo: Este artigo propõe uma leitura de poemas de Ana Cristina César e Paulo Leminski escritos sob os ecos da ditadura militar da década de 1970. Esses poetas representaram, com seus traços peculiares, a dicção própria da geração mimeógrafo. Neste percurso, considera-se o contexto político-social em que surgiu a poesia marginal e suas feições particulares, além das características próprias do gesto literário de Ana C. e Paulo Leminski. Em tempos de silenciamento, a poesia busca novos caminhos para expressão do eu, reelaborando a linguagem poética e propondo novos vieses de expressão e divulgação artística.Palavras-chave: Ana Cristina Cesar; Paulo Leminski; ditadura militar; literatura marginal; violência.Abstract: This article proposes a reading of poems by Ana Cristina César and Paulo Leminski written under the echoes of the military dictatorship of the 1970s. These poets represented, with their peculiar features, the diction proper to the mimeograph generation. In this way, we consider the political-social context in which marginal poetry and its particular features emerged, in addition to the characteristics of the literary gesture of Ana C. and Paulo Leminski. In times of silence, poetry seeks new ways to express the self, reworking the poetic language and proposing new biases of expression and artistic dissemination.Keywords: Ana Cristina Cesar; Paulo Leminski; military dictatorship; marginal Literature; violence.

A singularidade da cinquentenária Placar para o contexto histórico do jornalismo esportivo no Brasil

PT. Este trabalho busca trazer uma reflexão acerca da importância da Placar para a construção do jornalismo esportivo no Brasil, fazendo uma sistematização das diferentes fases e seus distintos momentos. Mais longeva revista esportiva brasileira em circulação, o periódico completou, apesar da quase intermitente luta pela sobrevivência, meio século de vida em 2020. Como parte da mídia, também foi ao longo dos anos, de certo modo, um catalisador dos anseios e câmbios sociais e, por isso, esteve sempre em processo de mutação, descrevendo-os e, paralelamente, sendo influenciada pelos contextos das diferentes épocas. Tratamentos sexistas ao futebol de mulheres, como os de “musas” e “gostosas”, por exemplo, atravessaram fases históricas da revista, como as versões Placar Mais (1984), Placar Todos os Esportes (1988) e Futebol, Sexo & Rock and Roll (1995 a 1999). Com o advento do feminismo, esses termos não apenas ficaram para trás como a revista chegou a publicar em 2019 um pedido de desculpas pelo passado misógino e machista. O entrelaçamento histórico também pôde-se observar quando a revista deu voz a jogadores que não se furtavam a declarar seu posicionamento político (no contexto de efervescência em torno da redemocratização do país, nas chamadas “Diretas Já”) ou de discussões em torno da profissionalização do futebol nacional ou denúncias sobre corrupção no esporte. Neste estudo, evidencia-se a existência de uma linha tênue entre a história da sociedade brasileira e a história do futebol no país. Assim, a partir de entrevistas com sete jornalistas que fizeram parte de diferentes fases da revista (Celso Unzelte, Marcelo Duarte, Maurício Barros, Paulo Vinícius Coelho, Ricardo Corrêa, Sérgio Xavier Filho e o mais longínquo editor, Juca Kfouri), este artigo busca contribuir para a construção histórica de um capítulo relevante do entrelaçamento da cultura esportiva com a cultura social no Brasil através da Placar, uma peça fundamental da história do jornalismo esportivo nacional que se mantém viva. *** EN. This article discusses the importance of Placar magazine in the construction of sports journalism in Brazil. It is based on the systematization of different phases of the magazine and the great moments of its history. Placar is the oldest Brazilian sports magazine published and celebrated its jubilee in 2020, after fifty years of a continuous struggle to ensure its existence.As an actor of the media sphere in Brazil, it has also been a catalyst of social yearnings and changes over the years. Therefore, it has always been in a process of mutation, describing them and, in parallel, being influenced by the social and political contexts. Sexism towards women in soccer, expressed by the use of terms such as "muses" or "hotties", is a part of the magazine’s history, more specifically during the time of Placar Mais (1984), Placar Todos os Esportes (1988) and Futebol, Sexo & Rock and Roll (1995 to 1999). With the rise of feminist movements, these terms were discarded, and the magazine took a stand in 2019 by apologizing for the misogynistic and sexist content published in the past. Content imbued with historical momentums also appears at times when the magazine features players who voice political opinions (for instance during the effervescence of the context of redemocratization, at the time of the first direct elections after the fall of the military dictatorship, the so-called "Diretas Já") or share opinions on the professionalization of Brazilian soccer and the corruption operating within the sport’s institutions. The study highlights how fine is the line between the history of Brazilian society and the history of Brazilian soccer. Based on interviews with seven journalists who contributed to the magazine during different phases of its existence (Celso Unzelte, Marcelo Duarte, Maurício Barros, Paulo Vinícius Coelho, Ricardo Corrêa, Sérgio Xavier Filho and the veteran editor, Juca Kfouri), the article contributes to the historical construction of an important testimony of the intertwining of sports and social history in Brazil. This relationship is illustrated through the history of Placar, shown as a contemporary and central player in the history of Brazilian sports journalism. *** FR. Cet article propose une réflexion sur l'importance du magazine Placar dans la construction du journalisme sportif au Brésil, à partir d’une systématisation de ses différentes phases et des grands moments de son histoire. Premier magazine sportif brésilien, Placar a fêté son jubilé en 2020, après cinquante années marquées par un combat continuel pour assurer son existence. En tant qu’acteur du monde médiatique brésilien durant toutes ces années, il représente un catalyseur des aspirations et des changements sociaux. Si, d’un côté, il décrit les contextes des différentes époques du pays, il en subit simultanément l’influence, ce qui explique ses constantes mutations. Le sexisme à l’égard du football féminin, énoncé par des termes tels que « muses » ou « bombasses », a ainsi marqué l’histoire du magazine, dans ses versions Placar Mais (1984), Placar Todos os Esportes (1988) et Futebol, Sexo & Rock and Roll (1995 à 1999). Avec l'avènement du féminisme, ces termes ont non seulement été écartés, mais le magazine a été jusqu’à publier, en 2019, des excuses pour son passé misogyne et sexiste. Cette imbrication historique s’observe également lorsque le magazine donne la parole à des joueurs qui n’hésitent pas à donner leurs opinions, qu’elles soient politiques (dans le contexte effervescent de la redémocratisation du pays, au moment des premières élections directes après la dictature militaire, les « Diretas Já ») ou dans le cadre des discussions autour de la professionnalisation du football brésilien et de la corruption dans le sport. Cette étude montre que seule une frontière ténue sépare l'histoire de la société brésilienne de celle de son football. À partir d'entretiens avec sept journalistes qui ont marqué les différentes phases du magazine (Celso Unzelte, Marcelo Duarte, Maurício Barros, Paulo Vinícius Coelho, Ricardo Corrêa, Sérgio Xavier Filho et le vétéran des rédacteurs, Juca Kfouri), cet article contribue à la construction historique d'un chapitre important de l'entrelacement de la culture sportive et sociale au Brésil. Cette relation est ici mise en perspective à partir du magazine sportif Placar, personnage toujours vivant et fondamental de l'histoire du journalisme sportif brésilien. ***

Jaime Wright (1929-1999) e a defesa dos direitos humanos no contexto da resistência à ditadura militar no brasil | Jaime Wright (1929-1999) and the defense of human rights in the context of the military dictatorship resistance in Brazil

Este texto tem como objetivo analisar a vida e a obra de Jaime Nelson Wright (1927-1999), pastor presbiteriano, opositor do regime militar no Brasil e intelectual engajado na luta pela defesa dos direitos humanos. Foi uma das vozes que mais combateu a ditadura militar no interior do protestantismo brasileiro. Desde a deflagração do golpe em 1964, fez a opção político/religiosa de não aderir ao regime autoritário. Wright se vinculou ao movimento estudantil e dedicou-se ao amparo religioso/pastoral dos perseguidos políticos. Sua contribuição como intelectual, perpassa o campo religioso. Ele atuou junto aos organismos internacionais voltados para a defesa dos direitos humanos e fundamentais à vida e denunciou as atrocidades do regime militar no Brasil. Para a efetivação da pesquisa foram utilizadas as seguintes fontes: documentos e imagens disponibilizados pelo projeto Brasil: Nunca Mais; jornais da época: entrevistas e matérias; decretos e leis. Os dados revelados pelas fontes indicam que a vida e obra de Jaime Wright contribuíram decisivamente para o processo de redemocratização do Brasil. This text analyzes the life and work of Jaime Nelson Wright (1927-1999), a Presbyterian pastor, a fierce opponent of the military regime in Brazil, and intellectually engaged in the struggle for the defense of human rights. He was one of the voices that most fought the military dictatorship in the Brazilian Protestant movement. Since the outbreak of the coup in 1964, he made the political and religious choice of not joining the authoritarian regime. Wright joined the student movement and dedicated himself to the religious support of the politically persecuted. His contribution as a committed intellectual goes beyond the clerical field. He was involved with international organizations dedicated to the defense of human rights and the fundamental rights to life. He also exposed the military regime's atrocities. For the realization of the research were used the following sources: documents and images made available by the Project Brazil: Never Again; newspapers of the time: interviews and stories; decrees and laws. The data revealed by the sources, indicate the life and work of Jaime Wright contributed in a decisive way to the re-democratization process in the Brazilian society.

Fluchtpunkt Techno?

The term “conexión chilena” is regularly used in print media and internet articles to describe a group of DJs, some of them very successful, who fled as children with their families to Europe during the Chilean military dictatorship (1973–1990) and have become part of the growing EDM scene there since the 1990s. Names that are often mentioned in this context include Matías Aguayo, Andrés and Pier Bucci, Luciano (Lucien Nicolet), Martin Schopf/DJ Dandy Jack, Paula Schopf/DJ Chica Paula, Ricardo Villalobos and Cristian Vogel. Based on interviews and the analytical study of selected tracks by three of these artists, this article explores the question of the role that the “conexión” actually played. On the one hand, this question is applied to the work and career of the artists themselves, especially in light of developments in Chilean memory culture. On the other hand, it is applied to the early internationalization and transatlantic exchange in the field of techno and EDM. (Vorlage)