Vivir en estado de búsqueda. Las Antígonas modernas del desierto y el Río de la Plata

IF 0.3 0 PHILOSOPHY

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico Pub Date : 2020-08-21 DOI:10.7764/67.9

Cynthia Pamela Shuffer Mendoza

引用次数: 0

Abstract

The present text seeks to highlight the intertextual connections that exist between the myth of Antigone and other relations—audiovisual, photographic and theatrical—in order to unravel the vital power of its protagonists. The legacy of the Antigone archetype is present in hypertexts as a disobedient force towards official mandates, a female figure who resists injustice and the patriarchal order imposed by the laws of the city of Thebes. The documentary Nostalgia de la luz by the Chilean Patricio Guzman, the Uruguayan theater play Antigona Oriental by Volker Losch and Marianella Morena and the Siluetazo (silhouette drawings on the ground) made by the Mothers of Plaza de Mayo in the company of three visual artists will be the works that will allow us to get closer to the Antigone figure from the testimonies of the women who lost their brothers, parents and children—descendants of Polinices—in the framework of the dictatorships of the seventies in the Southern Cone.

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生活在搜索状态中。沙漠和rio de la Plata的现代安提戈涅

本文试图突出安提戈涅神话与其他关系(视听、摄影和戏剧)之间存在的互文联系，以揭示其主角的重要力量。安提戈涅原型的遗产在超文本中表现为对官方命令的不服从力量，一个抵制不公正和底比斯城法律强加的父权秩序的女性形象。智利的帕特里西奥·古兹曼的纪录片《怀旧之情》，Volker Losch和Marianella Morena的乌拉圭戏剧《东方安提戈尼亚》，以及五月广场的母亲们在三位视觉艺术家的陪伴下制作的Siluetazo(地上的剪影画)，这些作品将使我们从失去兄弟的妇女的证词中更接近安提戈尼亚这个人物，父母和孩子——警察的后代——在七十年代南锥体独裁统治的框架下。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico PHILOSOPHY-

CiteScore

0.30

自引率

0.00%

发文量

审稿时长

40 weeks

期刊介绍： The choice of the name of the journal represents a farewell from the identification of aesthetics with hermeneutics and speculative philosophy of art. It also shows our strong commitment to the irreducibility of aesthetics to a mere psychological fact. The subtitle of the journal “practices, languages and knowledge concerning aesthetics” indicates the present, fertile pluralism of aesthetics. This is a pluralism of views and methods, often connected with the different ways in which contemporary arts and aesthetic abilities present and structure themselves. Also, it is a pluralism of thoughts and formulas, which induces to relativize the western tradition within which the discipline of aesthetics was born. Finally, it is a pluralism of epistemic landscapes, which also trespasses into the sphere of sensibility and art. These various, epistemic landscapes have recently experienced a revolutionary enlargement through the rise of some new or radically renewed disciplines (from neurosciences to anthropology, from cognitive sciences to psychobiology). Indeed, we conceive Aisthesis as a public space where those different approaches and disciplines can interact.