scholarly journals Garaituen bizipenen berreraiketa Armendarizen Silencio roto filmean

2021 ◽  
Vol 26 (50) ◽  
pp. 105-124
Author(s):  
Ander Goikoetxea Pérez
Keyword(s):  
Twentieth Century ◽  
Historical Memory ◽  
Narrative Construction ◽  
Written Text ◽  
The Past ◽  
Knowing That ◽  
Palabras Clave ◽  
The Subject ◽  
New Perspective ◽  
Siglo Xx

LaburpenaAzken hamarkadetan, zinema iraganeko dokumentu bihurtu da testu idatzian eta dokumentu ofizialetan jasotako informazioa osatzeko iturri gisa. Baina XX. mendean eztabaida luzeak izan dira gai honen inguruan, zineak eta historiografiak mesfidantzaz begiratzen bait zioten elkarri. Gaur egun, ordea, autore gehienak ados daude zinema iraganeko dokumentua dela esatean. Zentzu horretan, iraganean girotutako film bati ezin zaio exijitu erabat zehatza eta egiazkoa izatea, baizik eta beti egiazkoa izatea. Silencio rotoren bidez, Armendarizek makiaren borroka antifaxista gogoratzen du. Lan honetan aipatutako filmaren eraikuntza narratiboaren hiru elementu nagusiak (pertsonaia, akzioa eta gatazka) identifikatuz eta aztertuz makiaren irudikapena aztertu nahi da. Beste autore batzuek Silencio roto filma aztertu dutela jakinda, lan honek ikuspegi berri batetik heldu nahi dio gaiari, aurreko ikerketen osagarri gisa: zuzendariak 40ko hamarkadako gerrillaren testuinguruan islatu dituen emakume garaituen bizipen basatiak.Gako-hitzak: fikzioa; frankismoa; oroimen historikoa; ikus-entzunezko narratiba; indarkeriaResumenEn las últimas décadas el cine se ha convertido en un documento del pasado como fuente para completar la información contenida en el texto escrito y en los documentos oficiales. No obstante, desde el siglo XX se han producido largas discusiones sobre este tema, ya que el cine y la historiografía se miraban desconfiadamente. En la actualidad, sin embargo, la mayoría de los autores coinciden en que el cine es un documento del pasado. En este sentido, a una película ambientada en el pasado no se le puede pedir que sea absolutamente exacta y veraz, sino que sea siempre sincera. Con Silencio roto, Armendáriz recuerda la lucha antifascista del maqui. En este trabajo se pretende analizar la representación del maqui mediante la identificación y análisis de los tres elementos principales de la construcción narrativa de la película: personajes, acción y conflicto. Sabiendo que otros autores han estudiado dicha película, este trabajo pretende abordar el tema desde una nueva perspectiva como complemento a investigaciones anteriores: las vivencias brutales de las vencidas que el director ha reflejado en el contexto de la guerrilla de los años 40.Palabras-clave: ficción; franquismo; memoria histórica; narrativa audiovisual; violenciaAbstractIn recent decades, cinema has become a document of the past as a source to complete the information contained in the written text and official documents. But since the twentieth century there have been long discussions on this subject, since the cinema and historiography were looked distrustfully. At present, however, most of the authors agree that cinema is a document of the past. In this sense, a film set in the past cannot be asked to be absolutely accurate and truthful, but is always sincere. With Silencio roto, Armendáriz recalls the antifascist struggle of the machine. This paper aims to analyze the representation of the machine by identifying and analyzing the three main elements of the narrative construction of the reference film: characters, action and conflict. Knowing that other authors have studied this film, this paper aims to address the subject from a new perspective, as a complement to previous research. Thus, the director has retaken the question of the guerrilla of the 40's, taking into account the brutal experiences of the defeated.Keywords: fiction; Francoism; historical memory; audiovisual narrative; violence

scholarly journals Prácticas políticas, poder y geoestrategia en las civilizaciones del siglo XX y primeras décadas del siglo XXI. Practices, power and geostrategy in the civilizations of the 20th century and first decades of the 21st century.

Psicoespacios ◽  
2015 ◽  
Vol 9 (14) ◽  
pp. 367
Author(s):  
Rubén Hernández
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
21St Century ◽  
Political Order ◽  
Past Century ◽  
The Past ◽  
Palabras Clave ◽  
Pan Africanism ◽  
Siglo Xx

Practices, power and geostrategy in the civilizations of the 20th century and first decades of the 21st century. Resumen Este artículo reflexiona respecto a las distintas concepciones geopolíticas y geoestratégicas que orientaron y orientan el discurrir del ordenamiento político mundial  durante el siglo XX y parte del nuevo siglo. Estas geopolíticas y  geoestratégicas puestas en la escena del teatro de la guerra evidencian los distintos intereses agenciados por los Estados que controlan los hilos del poder y la política en la arena internacional y nacional. Se pretende con la reflexión posibilitar una mayor comprensión de los acontecimientos más impactante de la civilización del siglo pasado y parte del presente, de tal manera que hagamos memoria y nos convenzamos que esto no puede volver a ocurrir. Metodológicamente es un artículo soportado por fuentes bibliográficas, documentales y audiovisuales. Palabras clave: Geopolítica, geoestratégia, capitalismo, socialismo, fascismo, panafricanismo, colonialismo.     Abstract This article reflects on the different geopolitical and geostrategic conceptions that guided and directed the flow of the global political order during the twentieth century and part of the new century. These geopolitical and geostrategic placed at the scene of the theater of war show the different interests brokered by States that control the strings of power and politics in the international and national arena. It is intended to enable a greater understanding reflection of the most shocking events of the civilization of the past century and part of this, so we do memory and convince us that this can not happen again. Methodologically it is supported by literature, documentaries and audiovisual resources article. Keywords: Geopolitics, geostrategy, capitalism, socialism, fascism, Pan-Africanism, colonialism.

The Frontiers of Memory: What the Marathas Remembered of Vijayanagara

2009 ◽  
Vol 43 (1) ◽  
pp. 269-288 ◽  
Author(s):  
SUMIT GUHA
Keyword(s):  
Historical Memory ◽  
Southern India ◽  
The Past ◽  
The Subject ◽  
Historical Tradition ◽  
The Way

AbstractThe past two decades have seen a dramatic renewal of interest in the subject of historical memory, its reproduction and transmission. But most studies have focused on the selection and construction of extant memories. This essay looks at missing memory as well. It seeks to broaden our understanding of memory by investigating the way in which historical memory significant to one historical tradition was slighted by another, even though the two overlapped both spatially and chronologically. It does this by an examination of how the memory of the Marathi-speaking peoples first neglected and then adopted the story of the Vijayanagara empire that once dominated southern India.

scholarly journals The eye of the architect. Le Corbusier and the photograph: demonstrate, learn, remember

2015 ◽  
Author(s):  
Annarita Teodosio
Keyword(s):  
Visual Arts ◽  
Cultural Context ◽  
Le Corbusier ◽  
Palabras Clave ◽  
Representation Of Architecture ◽  
The Subject ◽  
The Many ◽  
Siglo Xx ◽  
The Relationship ◽  
Made In

Abstract: The relationship between Le Corbusier and the visual arts (drawing, photography and cinema) is deep and complex and, although the subject of numerous publications and research since the late 60s, still arouses much interest, as evidenced by the many events organized in the last years - "Le Corbusier. Vue sur la mer ", Maison La Roche, Paris, 2012; "Construire the image: Le Corbusier et la Photographie", Musée des Beaux-Arts, the Chaux-de-Fonds, 2013; or the recent "Le Corbusier and photography", IUAV, Venice, May 2015-. The paper, starting out from the researches already developed, proposes a further reflection on the relationship between the Swiss architect and the photography, paying particular interest to the shooting made in first person. The study analyzes the different approaches and the different subjects photographed in the course of his life and it is proposed to include the work of Le Corbusier in the broader cultural context of the twentieth century, a period in which the relationship between architecture and visual communication, thanks to the many possibilities offered by technological innovations, it becomes increasingly close and inevitable. Resumen: La relación entre Le Corbusier y las artes visuales (dibujo, fotografía y cine) es profunda y articulada y, aunque es objeto de numerosas publicaciones y investigaciónes desde el finales de los años 60es, todavía despierta mucho interés, como lo demuestran los diversos eventos realizados en los últimos años - “Le Corbusier. Vue sur la mer”, Maison La Roche, Parìs, 2012; “Construire l’image: Le Corbusier et la photographie”, Musée des Beaux-Arts, la Chaux-de-Fonds, 2013; o la más reciente “Le Corbusier e la fotografia”, IUAV , Venezia, mayo 2015-. El articulo, a partir desde investigación ya desarrollado, propone una reflexión más sobre la relación entre el arquitecto suizo y la fotografía, prestando especial interés a las realizata en primera persona. El estudio analiza los diferentes enfoques y diferentes sujetos fotografiados en el curso de su vida y se propone de insertar la obra de Le Corbusier en el contexto cultural más amplio del siglo XX, un período en el que la relación entre la arquitectura y la comunicación visual, gracias a las muchas posibilidades que ofrecen las innovaciones tecnológicas, se vuelve cada vez más estrecha e inevitable.  Keywords: Le Corbusier; photography; representation of architecture. Palabras clave: Le Corbusier; fotografia; representaciones de la arquitectura. DOI: http://dx.doi.org/10.4995/LC2015.2015.947

scholarly journals A história oral visita o cinema: Que bom te ver viva e Los Rubios

2016 ◽  
Vol 2 (1) ◽  
pp. 118
Author(s):  
Ana Maria Veiga
Keyword(s):  
Twentieth Century ◽  
Key Words ◽  
Oral History ◽  
Time History ◽  
Film Maker ◽  
Political Resources ◽  
Palabras Clave ◽  
Brazilian Film ◽  
Siglo Xx

ResumoEste artigo relaciona o cinema, como meio de comunicação, à história oral e seus entrelaçamentos com a história do tempo presente, atentando para os testemunhos, utilizados como recurso estético e político nos filmes Que bom te ver viva, da cineasta brasileira Lúcia Murat, e Los rubios, da argentina Albertina Carri. Podendo ser categorizadas como documentários-ficção, ambas as realizações lidam com os traumas resultantes da violência ditatorial em seus países de origem, na segunda metade do século XX. Em que medida servem estes filmes como fontes para estudos que se apoiam na história oral é o que pretendemos discutir neste artigo. Palavras-chave: Cinema; História oral; Que bom te ver viva; Los rubios AbstractThis article aims to treat cinema, as a way of communication, in its relationship with Oral History and its ties with Present Time History, attempting to testimonies used as aesthetic and political resources inside films like Que bom te ver viva, by the Brazilian film maker Lúcia Murat, and Los rubios, by the Argentine film maker Albertina Carri. Categorized as fictional documentaries, both films deal with the traumas that result of dictatorial violence in their countries of production, in the second half of the twentieth century. How can these films be used as sources of investigation by studies based on Oral History is a question to be answered in this article. Key-words: Cinema; Oral History; Que bom te ver viva; Los rubios ResumenEste artículo relaciona el cine, como medio de comunicación, a la historia oral y sus entrelazamientos con la historia del tiempo presente, al atentar para los testimonios utilizados como recurso estético y político en las películas Que bom te ver viva, de la realizadora brasileña Lúcia Murat, y Los rubios, de la argentina Albertina Carri. Categorizadas como documentales-ficciones, las dos películas se llevan con los traumas resultantes de la violencia dictatorial en sus países de origen, en la segunda mitad del siglo XX. En que medida sirven estas películas como fuentes para los estudios basados en la historia oral es lo que pretendemos discutir en este artículo. Palabras-clave: Cine; Historia oral; Que bom te ver viva; Los rubios. Disponível em:Url:http://opendepot.org/2773/Abrir em (para melhor visualização em dispositivos móveis - Formato Flipbooks):Issuu / Calameo

scholarly journals Māori Urban Migrations and Identities, ‘Ko Ngā Iwi Nuku Whenua’: A study of Urbanisation in the Wellington Region during the Twentieth Century

2021 ◽  
Author(s):  
◽  
Erin Keenan
Keyword(s):  
Twentieth Century ◽  
Urban Areas ◽  
Urban Migration ◽  
World War ◽  
Historical Sources ◽  
The Past ◽  
Complex Interactions ◽  
The Subject ◽  
The Many ◽  
Migration Experiences

<p>Māori urbanisation and urban migrations have been the subject of much discussion and research, especially following World War Two when Māori individuals, whānau and communities increasingly became residents of towns and cities that were overwhelmingly Pākehā populated. However, Māori urbanisation experiences and urban migrations are difficult topics to address because kaumātua are reluctant to discuss ‘urban Māori’, especially considering its implications for Māori identities. The original contribution this thesis makes to histories of Māori urban migrations is that it explores these and other understandings of urbanisations to discover some of their historical influences. By discussing urbanisations directly with kaumātua and exploring historical sources of Māori living in, and moving to, the urban spaces of Wellington and the Hutt Valley through the twentieth century, this thesis is a ‘meeting place’ for a range of perspectives on the meanings of urbanisations from the past and the present. Although urbanisation was an incredible time of material change for the individuals and whānau who chose to move into cities such as Wellington, the histories of urban migration experiences exist within a scope of Māori and iwi worldviews that gave rise to multiple experiences and understandings of urbanisations. The Wellington region is used to show that Māori in towns and cities used Māori social and cultural forms in urban areas so that they could, through the many challenges of becoming urban-dwelling, ensure the persistence of their Māoritanga. Urbanisations also allowed Māori to both use traditional identities in urban areas, as well as develop new relationships modelled on kinship. The Ngāti Pōneke community is used as an example of the complex interactions between these identities and how many Māori became active residents in but not conceptually ‘of’ cities. As a result, the multiple and layered Māori identities that permeate throughout Māori experiences of the present and the past are important considerations in approaching and discussing urbanisations. Urban Māori communities have emphasised the significance of varied and layered Māori identities, and this became particularly pronounced through the Māori urban migrations of the twentieth century.</p>

scholarly journals Implicações da noção de consciência histórica nas ciências humanas e sociais: um modo de projeção para o futuro e de posição em relação ao passado

2020 ◽  
Vol 33 (68) ◽  
pp. 817-843
Author(s):  
Fábio César Junges ◽  
Tiago Anderson Brutti ◽  
Adair Adams
Keyword(s):  
Social Sciences ◽  
Historical Consciousness ◽  
The Past ◽  
Human And Social Sciences ◽  
Palabras Clave ◽  
The Future ◽  
History Of ◽  
Humanities And Social Sciences ◽  
Past Experiences ◽  
Siglo Xx

Implicações da noção de consciência histórica nas ciências humanas e sociais: um modo de projeção para o futuro e de posição em relação ao passado Resumo: O presente texto, de caráter bibliográfico, discute o problema da consciência histórica com o objetivo de pensar o sentido dessa expressão na atualidade e as variações que esse conceito adquiriu ao longo da história das Ciências Humanas e Sociais, com ênfase no século XX. A hipótese é que a discussão a respeito da consciência histórica passou a se ocupar, na modernidade, com uma múltipla relatividade de pontos de vista, o que é destacado por Gadamer em sua análise sobre os preceitos implicados na definição do que significa “ter senso histórico”. É defendida a tese, portanto, de que a noção de consciência histórica não se limita ao conhecimento das experiências vivenciadas no passado, mas se apresenta como condição de possibilidade de projetar o futuro e se posicionar em relação ao passado, especialmente no que diz respeito às ciências humanas e sociais. A defesa desta ideia central é realizada por meio de dois gestos reflexivos, com apresentação, primeiramente, do marco teórico da consciência histórica e, posteriormente, de suas implicações na constituição das Ciências Humanas e Sociais. Palavras-chave: Ciências humanas e sociais. Senso histórico. Passado. Futuro. Implications of the notion of historical consciousness in human and social sciences: a mode of projection for the future and position in relation to the past Abstract: This bibliographic text discusses the problem of historical consciousness with the purpose of thinking about the meaning of this expression in the present time and the variations that this concept has acquired throughout the history of the Humanities and Social Sciences, with emphasis on the twentieth century. The hypothesis is that the discussion about historical consciousness has come to concern itself, in modernity, with a multiple relativity of points of view, which is highlighted by Gadamer in his analysis of the precepts involved in defining what “having a historical sense” means. Therefore, the thesis that the notion of historical consciousness is not limited to the knowledge of past experiences is defended, but is presented as a condition of possibility of projecting the future and positioning itself in relation to the past, especially with regard to humanities and social sciences. The defense of this central idea is made through two reflexive gestures, presenting, first, the theoretical framework of historical consciousness and, later, its implications in the constitution of the Human and Social Sciences. Keywords: Human and social sciences. Historical sense. Past. Future. Implicaciones de la noticia de conciencia histórica en las ciencias humanas y sociales: un modo de proyección para el futuro y de posición en relación al pasado Resumen: El presente texto, de carácter bibliográfico, discute el problema de la conciencia histórica con el propósito de pensar sobre el significado de esta expresión en la actualidad y las variaciones que este concepto ha adquirido a lo largo de la historia de las Humanidades y las Ciencias Sociales, con énfasis en el siglo XX. La hipótesis es que la discusión sobre la conciencia histórica ha llegado a ocuparse, en la modernidad, de una relatividad múltiple de puntos de vista, que Gadamer destaca en su análisis de los preceptos involucrados en la definición de lo que significa “tener un sentido histórico”. " Por lo tanto, se defiende la tesis de que la noción de conciencia histórica no se limita al conocimiento de experiencias pasadas, sino que se presenta como una condición de posibilidad de proyectar el futuro y posicionarse en relación con el pasado, especialmente con respecto a humanidades y ciencias sociales. La defensa de esta idea central se realiza a través de dos gestos reflexivos, presentando, primero, el marco teórico de la conciencia histórica y, luego, sus implicaciones en la constitución de las Ciencias Humanas y Sociales. Palabras clave: Ciencias Humanas y Sociales. Sentido histórico. Pasado. Futuro. Data de registro: 28/05/2019 Data de aceite: 24/10/2019

scholarly journals Comparative analysis of the works published in periodicals and as part of the books, with major texts of A. E. Kulakovsky

Litera ◽  
2020 ◽  
pp. 47-60
Author(s):  
Aleksandr Pavlovich Nogovitsyn
Keyword(s):  
Comparative Analysis ◽  
Early Period ◽  
Special Significance ◽  
The Past ◽  
Literary Heritage ◽  
History Of ◽  
The Subject ◽  
New Perspective ◽  
Unpublished Works

This article examines the works of A. E. Kulakovsky based on theoretical positions of D. S. Likhachev and practical data from commentaries to the volume II of A. E. Kulakovsky (author P. V. Maksimov), as well as conducts comparative analysis of the early versions with major texts of A. E. Kulakovsky. The subject of this research is the comparative analysis of A. E. Kulakovsky's early publications with major texts. The goal consists in determination and description of the authorial editing and revisions, which allows substantiating their motives for, as well as tracing the evolution of author&rsquo;s thought. The discrepancies between the texts of early period and major text are viewed as improvements: addition of lines, substitution of separate words, rearrangement lines and stanzas. The novelty of this study consists in substantiation of early publications of A. E. Kulakovsky and lifetime edition as the subject of textological research. From this perspective, early publications of the works of A. E. Kulakovsky's are attributed to as research materials of cross-disciplinary nature: as the testimonies of the stage of establishment of Yakut literature as a whole, and as the variants of writer's major texts that reveal the history of his works in particular. The relevance is defined by the fact that special textological studies of poet&rsquo;s separate works, including profound examination of historiographical part of his literary heritage, are currently of special significance. Over the past decade, a sizeable corpus of new documents related to A. E. Kulakovsky&rsquo;s biography, including the unpublished works and scientific writings, has been revealed; this gives a new perspective on the already familiar materials in the context of analysis of his evolution as a writer and the history of publication of his works in the XX century.

Nostalgic Fragments in the Thick of Things: Yuan Kewen (1890–1931) and the Act of Remembering

2019 ◽  
Vol 6 (1) ◽  
pp. 239-271
Author(s):  
Shengqing Wu
Keyword(s):  
Twentieth Century ◽  
Historical Memory ◽  
Phenomenological Analysis ◽  
The Past ◽  
Early Twentieth Century ◽  
Historical Figures ◽  
Historical Dramas

Abstract This article delves into the nexus of nostalgia, memory, and visuality by examining the images, objects, and events surrounding Yuan Kewen's remembrances of his father, Yuan Shikai, and their family estate in Huanshang. It also considers Zhang Boju's remembrance of his interactions with Yuan Kewen as another layer of historical memory. Phenomenological analysis of the act of remembering, especially in the work of Edward Casey, will be shown to yield rich insights when applied to China's early twentieth-century Republican culture. Surviving fragments—poems, anecdotes, photographs, and paintings—replete with sensuous and affective images of the past become the loci of memory in which these historical figures lived. Lamentation and reminiscence are also conducted through performance of historical dramas whose gestures of mourning and remembrance allowed Yuan to cultivate feelings of perpetual nostalgia through personal artistic expressions. The act of remembering became symptomatic for Yuan, Zhang, and to a large extent the entire generation of literati who experienced drastic social-political changes in the twentieth century.

scholarly journals The Subject – A Key Element of the Fugue Form during the 20th Century

2018 ◽  
Vol 18 (1) ◽  
pp. 161-179
Author(s):  
Gabriela Vlahopol
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Musical Language ◽  
The Past ◽  
New Directions ◽  
Significant Phenomenon ◽  
The Subject ◽  
Tonal System ◽  
Musical Forms

Abstract The great stylistic epochs of the past mostly had syntaxes and specific forms, escaping in the context of the application of polyphonic syntax to the tonal system. The twentieth century, characterized by a continuous mobility and search in the field of the musical language, does not intend to create new musical forms but takes preexisting patterns, which adapt to the creative contexts specific to the composers. Thus, despite the blurring of some of the fundamental elements, other factors of configuration and construction were maintained and amplified, as well as the particular phenomenon, the most significant phenomenon being the development of the thematic principle, which will have its particular manifestations in the fugue form, the diversity of its interpretations bearing the mark of some new directions.

scholarly journals Iconografía fundacional en la historia del Perú

2019 ◽  
pp. 15-25
Author(s):  
Leopoldo Lituma Agüero
Keyword(s):  
Twentieth Century ◽  
Basic Education ◽  
National History ◽  
School Population ◽  
Early Twentieth Century ◽  
Palabras Clave ◽  
History Of ◽  
Collective Imagination ◽  
Siglo Xix ◽  
Siglo Xx

Luego de la Independencia, la construcción iconográfica devino en indispensable por la necesidad de educar en la historia patria desde un punto de vista vernáculo. Sin embargo fueron extranjeros los primeros que se abocaron a la investigación y compendio de la historia patria desde sus orígenes.Aquellos textos, sin imágenes aún, se utilizaron en la incipiente educación peruana del siglo XIX. A principios del siglo XX aparecieron en el Perú los primeros textos escolares ilustrados, los uales incorporaron imágenes tomadas de publicaciones foráneas, algunas de ellas con una visióneuropeizante de lo acontecido en estas tierras. Otras publicaciones menos idealizadas contribuyeron,  con sus dibujos y grabados, a la historia visual del país, y cuando fueron incorporados a los libros paraeducación básica coadyuvaron a crear el imaginario colectivo. El presente artículo muestra algunas fuentes iconográficas que sirvieron para instruir a la población escolar de principios del siglo XX, varias tomadas como válido referente en diversas situaciones de la historia del Perú, preguntándose cómo pueden haber influido en la conciencia nacional. Palabras clave: Iconografía, Imaginario, Historia, Educación Básica, Perú   AbstractAfter Independence, the building became iconographic indispensable due to the need for educationin the country´s history from a vernacular perspective. But foreigners were the first to set about theresearch and compilation of national history from its origins. Those texts, no pictures yet, were used inthe emerging nineteenth century Peruvian education. In the early twentieth century came the first illustrated textbooks, witch incorporated images taken from foreign publications, some with a view of what happened European vision in these lands. Other publications less idealized helped with his drawings and print to the visual history of the country, and when they were incorporated into the books for basic education, helped create a collective imagination. This article shows some iconographic sources that served to educate the school population in the early twentieth century, several taken as a valid reference in various situations in the history of Peru, wondering how it may have influenced national consciousness. Keywords: Iconography, Imagination, History, Basic Education, Perú

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