ABSTRACT

Denuncia y compromiso social en producciones culturales contemporáneas de Bolivia, Perú y Chile: un acercamiento a la violencia de géneroby

Magdalena PadillaDenuncia y compromiso social en producciones culturales contemporáneas de Bolivia, Perú y Chile: un acercamiento a la violencia de género contributes to the historiography of Latin American feminism by concentrating on the artistic productions and journalistic report of women authors/performers from three South American nations of Bolivia, Peru, and Chile. That, beginning in the last decade of the 20th Century, embarked on the denunciation of gender violence, particularly rape and feminicide, as grave social ills plaguing these countries. The focus on authors/performers from these three nations rests on them being pioneers in seeking solutions to sexist violence in the Andean region, which, according to the 2013 Report of the World Health Organization (WHO) is where the highest rates of gender-based violence occurs in Latin America. The authors/performers’ creations studied in this dissertation are assessed and contextualized within both the political histories of each nation and the legal and pedagogical responses produced in each state regarding violence against women. The present work concludes by determining once again that gender-based violence is actually a global problem enshrined in the unequal and hierarchical relationships that grant men power over women.

This dissertation explores novels and films produced in the Spanish State between 2011 and 2018 across three languages —Catalan, Galician, and Spanish— documenting the impact of the World Economic Crisis of 2008. The latter, as I argue, exposed the nation as “an indebted” society that had built its democratic and financial success as a house of cards. This work represents an original contribution to the field of Spanish Cultural Studies in three particular ways: (1) It highlights how the economic crisis affected women, more specifically those belonging to the younger generations of the lower middle class known as the “mileuristas” (The Generation of the One Thousand Euros). (2) Evaluating novels written in three of the official languages of the Spanish State provides a comprehensive perspective of the economic debacle since it considers the different cultural and linguistic realities of 21st Century Spain. In following this premise, each of the novels and films studied here call upon the particular identity marker of a debtor, which ultimately carries the moral judgement of being an “irresponsible citizen”. (3) By considering the notion of the indebted subject, this dissertation brings to the fore an innovative approach that surpasses mere understanding of precariousness and precarity, as have done so far, the scholarly productions centered on this topic. Thus, I expose how feral capitalism operates using moral considerations of guilt and fear to ultimately assigns all ethical and economic responsibility of the financial crisis to individuals; blaming them and not the unbridled greed of the world banking system. From diverse perspectives, and in some cases, with clear demands to establish new solidarities and alliances among the State, companies, and society, the novels and films evidence the bleak landscape left in the wake of the Spanish 2008-2014 crisis.

Este estudio se enfoca en el artivismo como exhortación político-artística para denunciar y combatir la violencia sexista a partir de las propuestas que han llevado a cabo el movimiento Ni Una Menos (2015) de Argentina, enfocado sobre todo en el feminicidio y las que escenifican el colectivo feminista Las Tesis de Chile con sus performances de “El violador eres tú” (noviembre 2019). Ambas proposiciones empiezan como protestas y denuncias locales que, gracias a las plataformas sociales, se globalizan. Ambas modalidades del artivismo—la intersección entre el arte y el compromiso político (activismo)—se dedican a visibilizar y denunciar tanto la falta de igualdad en lo que respecta a los derechos humanos como a demandar que los gobiernos se comprometan a erradicar la violencia contra las mujeres. De hecho, en el caso de “El violador eres tú”, la letra de la canción tanto como la performance se han transformado en un himno feminista global contra la violencia sexista. El estudio consta de ocho secciones que se organizan de la siguiente manera: Introducción: Definiciones de artivismo y de violencia sexista El artivismo y artivismo digital: definición y herencia Dadá Modalidades del artivismo digital: El ciberartivismo La violencia sexista y feminicidio: Forma extrema de la violencia contra las mujeres La evolución de la penalización del feminicidio en Latinoamérica: un marco legal para Argentina y Chile Argentina 2015: Ni Una Menos #NiUnaMenos y la pandemia de 2020 Resistencia corporal: la performance de 25 de noviembre de 2019 Las Tesis en Valparaíso (Chile) Epílogo En la Introducción y en las secciones I, II, y III se detallan los criterios que se utilizan en este estudio. En el capítulo IV se discuten, desde el marco legal, los avances en los procesos de penalización de la violencia. De los capítulos V a VII, se exponen las estrategias artivistas que definen al movimiento Ni Una Menos (2015) en Argentina y a la performance “El violador eres tú” (2019) en Chile.

This dissertation analyzes how, for over a century, Spanish novels have used sadomasochism (the derivation of pleasure through physical and/ or psychological pain) to criticize the Catholic Church from an anticlerical position, to denounce Francoism, and to sublimate the political left’s disillusionment with the post-Franco democratic era into an alternative sexual revolution. First, in the introduction, I review sadomasochism theory, both international and Spanish. Next, chapter one shows how Armando Palacio Valdés’s Marta y María (1883), Emilia Pardo Bazán’s Dulce Dueño (1911), and Victor Ripalda’s El pájaro azul (c.1930) use “holy sadomasochism” the confluence of religion and sadomasochism, through religious flagellation to promote an anticlerical agenda, especially in relation to women. Chapter two reveals how Juan Marsé’s Si te dicen que caí (Mexico, 1973. Spain, 1976) and Isaac Rosa’s El vano ayer (2004) use representations of sadomasochism in war and politics to denounce Francoism. Chapter three explores the possibility of the use of BDSM (Bondage and Discipline, Dominance and Submission, Sadism and Masochism) as a sublimation of the left’s desencanto with the democratic era into an alternative sexual revolution in the post-Franco democratic-era erotic novels Pedro Sempere’s Fritzcollage (1982), Almudena Grandes’s Las edades de Lulú (1989), and Luisgé Martín’s La mujer de sombra (2012).