Political prisoners

Physics Today ◽  
1973 ◽  
Vol 26 (11) ◽  
pp. 13-15
Author(s):  
Leonard A. Sagan ◽  
Vladislav Bevc
Keyword(s):  
Political Prisoners

‘VOICES’, MEANING AND ‘HETEROGLOSSIA’ IN PRISONERS OF HOPE (1995)

2017 ◽  
Vol 14 (1) ◽  
pp. 88-96
Author(s):  
Khatija Bibi Khan
Keyword(s):  
South Africa ◽  
Documentary Film ◽  
Textual Analysis ◽  
Political Prisoners ◽  
The Future ◽  
Human Capacity ◽  
Robben Island ◽  
Former Inmates

The documentary film Prisoners of Hope (1995) is a heart-rending account of 1 250 former political prisoners in the notorious Robben Island prison in South Africa. The aim of this article is to explore the narratives of Prisoners of Hope and in the process capture its celebratory mood and reveal the contribution that the prisoners made towards the realisation of a free South Africa. The documentary features interviews with Nelson Rolihlahla Mandela, Ahmed Kathrada and other former inmates as they recall and recount the atrocities perpetrated by defenders of the apartheid system and debate the future of South Africa with its ‘new’ political dispensation led by blacks. A textual analysis of Prisoners of Hope will enable one to explore the human capacity to resist, commit oneself to a single goal and live beyond the horrors and traumas of an oppressive and dehumanising system.

“With colleagues like that, who needs enemies?”:Doctors and Repression under Military and Post-Authoritarian Brazil

2019 ◽  
Vol 76 (3) ◽  
pp. 467-505
Author(s):  
Eyal Weinberg
Keyword(s):  
Medical Education ◽  
Armed Forces ◽  
Political Prisoners ◽  
State University ◽  
Medical Assistance ◽  
Military Rule ◽  
Medical Board ◽  
Military Physician ◽  
The Military ◽  
Healing Arts

As young medical students at Guanabara State University, Luiz Roberto Tenório and Ricardo Agnese Fayad received some of the best medical education offered in 1960s Brazil. For six years, the peers in the same entering class had studied the principles of the healing arts and practiced their application at the university's teaching hospital. They had also witnessed the Brazilian military oust a democratically elected president and install a dictatorship that ruled the country for 21 years (1964–85). After graduating, however, Tenório and Fayad embarked on very distinct paths. The former became a political dissident in opposition to the military regime and provided medical assistance to members of the armed left. The latter joined the armed forces and, as a military physician, participated in the brutal torture and cruel treatment of political prisoners. At the end of military rule, Brazil's medical board would find him guilty of violating the Brazilian code of medical ethics and revoke his license.

Santo Domingo-ICRC President in the Far East and Central America — Viet Nam — Yemen — Southern Rhodesia — Mission in Africa

1965 ◽  
Vol 5 (52) ◽  
pp. 351-360
Keyword(s):  
Far East ◽  
International Committee ◽  
Political Prisoners ◽  
Red Cross ◽  
Viet Nam ◽  
Santo Domingo ◽  
The Far East ◽  
Southern Rhodesia ◽  
The Government ◽  
National Reconstruction

The delegation of the International Committee of the Red Cross brought its aid to civilian and political prisoners.One of the ICRC representatives in Santo Domingo, Mr. Pierre Jequier, general delegate for Latin America, visited prisons of the “Constitutional Government” presided over by Colonel Francisco Caamano Deno and of the “Government of National Reconstruction” of General Antonio Imbert. There were no restrictions placed by either on visits.

Reciprocal narratives in Que bom te ver viva (Lúcia Murat, 1989)

2021 ◽  
Vol 21 (2) ◽  
pp. 165-183
Author(s):  
Patrícia Sequeira Brás
Keyword(s):  
Historical Narrative ◽  
Political Prisoners ◽  
Fictional Character ◽  
Consciousness Raising ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Military ◽  
Feminist Practice

Directed by Brazilian filmmaker Lúcia Murat, Que bom te ver viva [How nice to see you alive] (1989) interlaces the testimonies of eight female political prisoners with a monologue voiced by an anonymous female fictional character. All allude to the experience of torture under the military dictatorial regime in Brazil. Given that Murat was a militant student imprisoned and tortured during the dictatorship, the film appears to have an autobiographical motivation. I argue, however, that the interlacing of fictional monologue and ‘real’ testimonies effaces this motivation. Rather, the intersection between fictional and testimonial accounts offers a reciprocal recognition between interviewees and filmmaker, allowing for the inscription of these individual stories into the historical narrative. I also argue that this reciprocal recognition is anchored in the feminist practice of storytelling, practised in consciousness-raising feminist groups in the 1960s and 1970s. Adriana Cavarero’s philosophy of narration underpins my analysis.

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