Search

This presentation aims to analyze how revolutionary Peronism of the sixties and seventies contests the argentinean "official history" and proposes a new interpretation of the national past. By studying their conception of history, this paper focuses on how image is employed in order to diffuse a new interpretation of reality. The hypothesis is that historical milestones are used as sensitive arguments to discuss the present and to legitimize a political alternative project. The promotion of the new version of history is based on provoking feelings through visual material and exalting other history protagonists. By evoking some graphic and film examples, this paper demonstrates how image is supposed to raise public awareness and as arguments for politics.

In the same way that Buenos Aires developed looking to Europe ; Rosario emulated the Argentinean capital city, as the periphery of the periphery. Rosario’s magazine Semana Gráfica reflects different social discourses tensioned by new ideas. This paper tries to explore an imaginary in reconstruction, especially in which concerns women. The articles and photos published in this magazine are analysed in order to think about this bourgeois imaginary now in question.

This article aims to analyse the political usage of image in an Argentinean magazine published between 1966 and 1971. Cristianismo y Revolución reflects social and political tensions during the “Argentinean Revolution”, especially in Catholicism. Although a significant analysis of this journal has already been done, this paper deals with a group of questions related to its visual dimension. After exploring its eclectic symbolic universe, some hypothesis about the usage of image in the process of political communication are outlined. Three outstanding aspects are examined in the body of this article in order to think theoretically the relations between aesthetics and politics, as a result of a further interest in the social imaginary of the peronist left.