Suchergebnisse

Most nonfiction films dealing with human rights abuse tend to tell you that things are well in hand because they're following an activist or an investigator or a judicial process that promises some sort of resolution even if, when the film ends, things are still a mess. The task of cinema in intervening in and exploring these issues is to actually immerse you in these problems, in these phenomena, so that you actually feel something about what is it like as a survivor or to have to live surrounded by the still-powerful perpetrators and to live in fear for half a century. One must not give into the narcissism of the fact that one is above the ground rather than under it. The fact is, they tell themselves fairy tales. But one of the most uncomfortable things the author has learned is how rapidly a victim becomes a victimizer, and a victimizer a victim. And he's never recovered from that. Adapted from the source document.

Besides giving an overview on the individual contributions, this introduction to the special issue on transparency delineates a conceptual context for a critical analysis of the contemporary discourse on transparency and the media mechanisms related to it. It focuses on three ambivalences inherent to transparency: (a) The Enlightenment and modernity promise transparency and at the same time produce a structural complexity undermining all simple endeavors to make things visible. (b) Transparency, therefore, is never given but is based on artificial representational and mediatic strategies; the processes of mediation, however, applied to produce and display transparency, attract suspicion for being selective and manipulative. (c) Transparency is often equated with the possibility of a critical public while the practice of critique (according to scholars as different as Latour, Serres, Rancière, and Boltanski) has become toothless in its redundant claim to disclose what other people do not see. Instead of just ridiculing the notion of transparency, we argue in conclusion that any call for transparency should always be accompanied with a careful examination and possible contention of why to disclose this (and not something else) and why with these tools (and not others).

El presente trabajo aborda una serie de transformaciones en el campo intelectual argentino iniciadas hacia fines de los ochenta y principios de los noventa, impulsadas por el agotamiento de una determinada forma de intervención intelectual y de una identidad asociada a cierta imagen de intelectual que podríamos denominar "clásico". Este proceso de mutación de los intelectuales dio lugar a la emergencia de una serie de "nuevos actores" que acabaron colonizando el espacio público en la década del noventa. Este contexto, marcado por el impacto que la mutación de los vectores de expresión ha tenido en la monumental transformación de las formas expresivas de la práctica política, se caracterizará por la constitución del periodismo como un espacio privilegiado de la disputa por la definición del sentido de los asuntos públicos. Nuestro objetivo es dar cuenta de estos desplazamientos problematizando las tensiones generadas por la redefinición de la categoría "intelectual".

O artigo analisa as trajetórias biográfico-literárias de Alfonsina Storni (1892-1938) e Horacio Quiroga (1878-1937) e a maneira como suas respectivas obras se moldaram às exigências e às oportunidades de trabalho na imprensa e nas revistas de variedades, conferindo uma feição inovadora a gêneros consagrados por meio de linguagens ajustadas às preferências do público emergente e aos moldes imperativos da mídia impressa. Outsiders para o meio literário argentino canônico, responderam aos intentos de desqualificação com recursos políticos e literários ao seu alcance, juntando a excelência de letrados profissionais à entonação candente do pesadelo privado.