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1. Experiencias de vida y feminismo en chile a comienzos del siglo XX Creo que un contexto que se compromete a luchar contra el olvido para la defensa de los derechos humanos es la sede más oportuna para reflexionar sobre las experiencias existenciales de Marta Vergara (1898-1995) y Elena Caffarena (1903-2003), dos protagonistas del movimiento feminista chileno que contribuyeron, en 1935, a la fundación del MEMCH (Movimiento pro Emancipación de la Mujer Chilena) y que en él colaboraron hasta ...

¿Cuál es la función del testigo frente a las políticas del estado? ¿Cuáles son las instancias que definen la producción y recepción de su palabra? ¿Cómo visibilizar las huellas del testimonio en una realidad amnésica, cada vez más condicionada por el mercado? En la encrucijada entre el territorio jurídico-político y literario, los textos aquí reunidos se proponen desvelar el ‘secreto’ de la praxis testimonial, iluminando una serie de obras narrativas que describen los contextos chilenos entre el 1973, año tristemente célebre por el comienzo de la dictadura, y el 2015. La vozde los testigos (Hernán Valdés, Jorge Montealegre, Rolando Carrasco), la reparación autobiográfica del dolor (Guillermo Núñez) y la traducción en palabra poética de la resistencia al horror y la violencia (Raúl Zurita, Diamela Eltit) se suman a la mediación de la memoria por parte de actores secundarios que, en el proceso de ‘narrativización’, exponen el pasado a nuevas instancias discursivas, reposicionando y redefiniendo sus contornos (Carlos Franz, Fátima Sime, Lucía Guerra). El conjunto de ensayos refleja una aproximación a lo testimonial como ejercicio de búsqueda siempre inacabado, que se realiza en la apertura hacia el otro, en la asunción de sus instancias, en la inclusión, siempre inacabada, en su universo.

CRIANDO, N. 1 (2018): Appunti di viaggio

Additional file 1. Additional figures.

Our contribution takes into consideration the more significant aspects of the student movement in Chile since 2001, year of the so-called mochilazo, up to nowadays, adopting a perspective aimed to outline the features of a historic process still in progress and in continuous transformation. Special attention is paid to the so-called revolucion de los pinginos and, above all, to the university student movement of 2011, which has been considered by many Chilean sociologists as a new social movement, to be deemed similar to the ones arisen during the recent past also in Europe, that represented the awakening of the civil society in front of the official political affairs. In this respect the relevant bibliography largely refers to Chilean works and is quite disparate, since it consists of documentary texts (investigative reports, memoirs of the protagonists, interviews) as well as historical texts, as the Historia contemporànea de Chile written by Gabriel Salazar and Julio Pinto (2014) and the sociological analysis of Mario Garcs (2012) and of Manuel A. Garretn (2014)., Altre Modernità, 2016: NUMERO SPECIALE Nuevos movimientos sociales. Política y derecho a la educación

The democratic governments of Chile have taken care of the restoration of these murales by revaluing what the dictatorship tried to wipe out. The Author aims at investigating their origin as well their meaning, with reference to both the society and the political ideologies that inspired the painters during the governments of Frente Popular (1938-1941) and of Unidad Popular (1970-1973). In this perspective, the two murales represent meaningful clues for the widening of an inquiry about the relationship between the intellectuals and the political power, within the scope of a specific artistic production, originated as a tool for the class struggle. Keywords: Chile, art, power, mural paintings, intellectuals. L’iniziativa dei governi democratici del Cile di restaurare i murales di Siqueiros e di Matta ha voluto rivalutare ciò che la dittatura aveva cancellato. Nel saggio si è inteso ricostruirne la genesi e il significato rispetto alla società in cui vennero alla luce e alle ideologie politiche a cui si ispirarono gli autori durante i governi del Frente Popular (1938-1941) e quello di Unidad Popular (1970-1973). In questo contesto i due murales costituiscono degli “indizi” significativi per ricostruire i rapporti tra intellettuali e potere, nell’ambito di una produzione artistica che era nata come strumento di lotta. Parole Chiave: Cile, arte, potere, muralismo, intellettuali.

A number of historical sources chronicle the devastating earthquake that shook the country and destroyed Santiago in 1647, during Chile’s colonial period. More than a century after, Heinrich Kleist published Das Erdbeben in Chili (1811), a fictional relation about the same cataclysm that describes the fatal destiny of two lovers. Surviving the disaster, they are lynched in a church by the fanatic faithful because of their irregular union, that would have caused the wrath and the punishment of God. Kleist’s story is cited also in 8. 8: el miedo en el espejo. Una crónica del terremoto en Chile, an eyewitness account from Mexican writer Juan Villoro, who was in Santiago in 2010, when occurred a terrible earthquake that registered 8.8 on the Richter scale. The author not only describes the people’s reactions to event, but also finds in his experience the impetus for considering how someone who escapes death, having seen it up close, can continue to live. In this context uses the Kleist’s text as a springboard for philosophical reflection on man’s destiny. A apocalyptic disaster can have unexpected consequences depending on the time and place, but also by the interpreter of the facts: in the small and isolated environment of colonial Chile, the will to resist giving in to superstition and to struggle to go on living; in Kleist’s story, abandoning comforting illusions about nature and man’s destiny; in Villoro’s account, awareness that we cannot know how and when the end of the world will arrive, but it lies in wait for us., Altre Modernità, 2013: NUMERO SPECIALE Apocalipsis 2012