BSC-LT/ACAData huggingface dataset:
[en] In 2008, German director Frank Castorf staged an adaptation of Eduard Limonov's 1979 novel Fuck Off, Amerika. Limonov's novel scandalized audiences with its description of capitalist excess and nihilism by detailing the exploits of a Soviet dissident in New York City. Castorf's adaptation aligns itself with Limonov's critique of both the socialist and capitalist projects, and reinforces the political line of his own theatre, the Berliner Volksbühne. The production centralizes the novel's protagonist Eddie (Eduard Limonov's alter-ego), maximizing on Limonov's real-life biography as leader of the extremist National Bolshevik Party in Russia. Both Castorf and Limonov delineate the ideological fantasies of former socialist regimes as a postsocialist performance of politics. As this depiction is reliant on Limonov's political involvement in real zones of war and conflict, both artists use questionable means to mark geo-political terrains where 'Americanization' and neo-liberalism have not firmly taken root. As such, the production represents the attempt to perpetuate a struggle against the Western 'colonization' of the former East, which was most vibrant in the immediate years after the fall of the Berlin Wall.

[eu] 2008an, Frank Castorf zuzendari alemanak Eduard Limonoven 1979ko Fuck Off, Amerika eleberriaren moldapena taularatu zuen. Limonoven eleberriak irakurleak asaldatu zituen, kapitalismoaren gehiegikeriak eta nihilismoa deskribatuz, New Yorken disidente sobietar baten zapalkuntza zela medio. Castorfen egokitzapena bat dator Limonovek proiektu kapitalista eta sozialistari egiten dion kritikarekin, eta bere antzoki propioaren, ―Berlingo Volksbühne― lerro politikoa indartzen du. Ekoizpenaren mamia eleberriko pertsonaia nagusia da, Eddie (Eduard Limonoven alter-egoa), eta aldi berean Limonoven benetako bizia maximizatzen du, Errusiako ezker muturreko Alderdi Boltxebikearen burua izanik. Bai Castorfek bai Limonovek, fantasia ideologikoa irudikatzen dute, lehengo erregimen sozialista batetik sozialismoaren ondoko politika batera. Deskribapen hau Limonovek gerra eta gatazka lekuetan duen benetako loturan oinarritzen denez, bi artistek esanahi zalantzagarriak erabiltzen dituzte esparru geopolitikoak markatzeko, non "amerikanizatzea" (Americanization) eta neoliberalismoa oraindik guztiz errotu ez diren. Honela, ekoizpenak Mendebaldeak eginiko lehenengo Ekialdearen kolonizazioaren kontrako borroka betikotzeko saioa irudikatzen du, Berlingo Harresia erori eta lehenengo urteotan biziago izan zelarik.
[en] There are a number of similarities between popular culture and women's writing: both have been dismissed as trivial and worthless, have traditionally received little respect from critics, and have been scorned because of theis apparently "low-brow" appeal. Additionally, both were long excluded from the literary Canon. In contemporary culture, the intersection of popular culture and women's writing takes the form of chick lit, the contemporary genre of fiction starring female characters in their 20s and 30s as they make their way through their lives and tackle all the obstacles in their way. As well as outlining the characteristics and history of chick lit, this paper will discuss the negative reception that popular culture, women's writing, and chick lit has often been subjected to, and will show how studies are now emerging with the aim of demonstrating how such genres may have more worth and potential than is typically suggested.

[eu] Hainbat antzekotasun bereiz ditzakegu herri-kulturaren eta emakumeen idazkeraren artean: biak ala biak hutsal eta baliogabekotzat jo izan dira, tradizioz kritikariek errespetu txikia gorde izan diote eta baztertua izan da itxura batera kultura maila apaleko iritzi izan zaiolako. Halaber, luze egon dira biak literatur arauetatik alboratuak. Kultura garaikidean, herri-kulturaren eta emakumeen idazkeraren arteko elkarguneak chick lit moldea hartzen du, 20-30 urte inguruko emakumeak protagonista dituen fikziozko genero garaikidea, nork bere bidea urratu eta sortzen zaizkion oztopo guztiei aurre egiten dien bitartean. Txosten honek Chick lit delakoaren ezaugarriak eta historia zirriborratu ez ezik, herri-kulturak, emakumeen idazkerak eta chick lit-ek maiz jaso izan duten harrera ezkorra ere aztertuko du eta erakutsiko digu nola iradoki ohi dena baino balio eta indar handiagoa izan dezaketela erakusteko helburua duten hainbat ikerlan abian diren gaur egun.
[en] The main aim of this paper is to propose a new periodization and a new conceptualization of modernity within Basque poetry. In contrast with other theories, it defends that poetic modernity was set up and established by the generation right after Gabriel Aresti's. Thus, it will analyze the path that runs from Aresti ́s contemporary poet Mikel Lasa to Bernardo Atxaga's Etiopia, that is to say, the period of modernity's development. Apart from the already mentioned, the contemporaneous poetic production of Ibon Sarasola, Joseanton Artze (Hartzabal), Amaia Lasa, Arantxa Urretabizkaia and Mikel Arregi will also be considered.

[eu] Artikulu honen xedea euskal poesiako modernitatearen inguruko periodizazio eta kontzeptualizazio berri bat ematea da. Orain arteko teorien aldean, modernitate poetikoa Gabriel Arestiren ondorengo belaunaldiak eratu eta gorpuztu zuela defendatzen da. Gisa honetan, Arestiren garaikidea den Mikel Lasatik Bernardo Atxagaren Etiopiarainoko ibilbidea azalduko da, aipatu modernitatearen osatzea den denbora tartea alegia. Hala, aipatutakoez gain, Ibon Sarasola, JosAnton Artze "Hartzabal", Amaia Lasa, Arantxa Urretabizkaia eta Mikel Arregiren garaiko produkzio poetikoa hartuko da aintzat.
[en] Through the analysis of the Corrido de Joaquín Murrieta, this article studies the mechanisms through which identity fictions and symbolic capital (Bourdieu) are created. In this case the elements mentioned above have its origins in a resistance movement that reacts to the violence and imposition exercised by one nation upon another. The legend of Joaquín Murrieta was born after the conflict between Mexico and The United States (1846-1848). He is a hero for the Mexicans and a bandit for the latter. In this study we will trace the story of the character in its different variations in diverse cultural products and analyze how he became a hero avenger and is part of the national imaginary as a representative not only of the Mexicans but also of other minority and oppressed groups.

[eu] Corrido de Joaquín Murrietari buruzko ikerlanetik abiatuta, artikulu honek agerian utzi nahi ditu fikzio identitario eta ondasun sinbolikodunak sortzeko erabiltzen diren mekanismoak (Bourdieu). Gure kasuan, horien jatorria nazio batek beste bati eragiten dizkion indarkeriaren eta inposaketaren aurkako erresistentzia-mugimendu bat da. Mexikoren eta Ameriketako Estatu Batuen arteko gatazka dela medio (1846-1848) sortu zen Joaquín Murrietaren kondaira eta, mexikarrek heroitzat jotzen duten bitartean, estatubatuarrek bidelapur bat dela uste dute. Ikusiko dugu, batetik, nola uztartu zuten pertsonaia horren istorioa zenbait kultura produkturekin eta, bestetik, nola bihurtu zuten heroi justiziazale moduko bat, eta baita imaginario nazionalean irudi bera izaten jarraitzen duela ere. Gainera, heroi justiziazale zorrotz hori mexikarren ordezkaritzat edukitzeaz gain, hainbat talde gutxitu eta zapalduen ordezkaritzat jotzen dute.
[en] Our study attempts to analyse the concepts of memory and oblivion in the poetry of Antonio Gamoneda through works such asDescripción de la mentira, Lápidas, Libro del frío and Arden las pérdidas, in relation to the historical period in which the author lived.

[eu] Gure ikerketaren bitartez, memoria eta ahanztura kontzeptuek Antonio Gamonedaren poesian duten pisua aztertuko dugu. Horretarako, Descripción de la mentira, Lápidas, Libro del frío eta Arden las pérdidas bezalako lanetan oinarrituko gara eta autorearen garai historikoari erreparatuko diogu.
[en] This article calls for the possibility of determining a settlement place for the women who contribute to the writing process as exiles. The exile expericence, whether interior or exterior, that was endured for policital reasons by Argentinean intellectuals during the second half of the 20th century, was more intense for women who write. This experience is reliably reproduced in the writings of the two women studied in this paper: Tununa Mercado and María Negroni. Both of these women are able to make and make for themselves a place from that location; they provide a different way of making literature. This article will analyze that place using two of their novels: Yo nunca te prometí la eternidad [I never promised you eternity] (2005) and La anunciación [The Annunciation] (2007), respectively.

[eu] Artikulu honek erbestealditik idazten duten emakumeentzat idazketa-formulazioan sustraitze-toki bat zehazteko aukera defendatzen.du. XX. mendearen bigarren erdian, politika-arrazoiak zirela eta, Argentinako intelektualek jasandako erbestealdia (barnekoa edo kanpokoa) larriagoa izan zen emakume idazleen artean. Emakume horien idazketetan formalki ikus daiteke erbesteratuak izatearen arrastoa. Lan honetan aztertutako emakumeek, Tutuna Mercadok eta María Negronik, koordenatu horretatik bizitzan beren tokia bilatzea lortzen dute, literatura egiteko beste modu bat eskainiz. Artikulu honetan, toki horren berri emango da haien bi eleberri oinarri hartuta: Yo nunca te prometí la eternidad (2005) eta La Anunciación (2007), hurrenez hurren.
[en] Ever since Plato and until the Enlightenment, light has been associated to Goodness, knowledge and Truth. However, the discourse under which light was regarded as something positive and that associated darkness to ignorance has been reevaluated from the nineteenth century onwards. The emphasis on shadows and obscurity, which emerged during Romanticism, has developed in the political literature, art and film of the twentieth century, when light has been linked to the excesses of reason leading to dehumanization in contemporary societies, and to totalitarianism. Conversely, darkness and blindness, rather than negative conditions, become metaphors of the resistance of the individual when confronted with political oppression. In this article, I explore this new understanding of darkness and blindness in the artworks of Ana Maria Pacheco, Ariel Dorfman's play Death and the Maiden, the film Garage Olimpo, directed by Marco Bechis, and José Saramago's novel Blindness.

[eu] Argia, Platonengandik hasita Argien Menderaino Ongiarekin, ezagutzarekin eta Egiarekin lotu ohi da. Aitzitik, XIX. mendetik aurrera, Argitasuna positibotzat eta iluntasuna ezjakintasuntzat jotzen dituen diskurtsoak norabide berri bat hartzen du. Itzalarekiko eta iluntasunarekiko enfasia, Erromantizismoan jatorria duena, XX. mendeko literaturan, artean eta zinema politikoan garatzen da. Argitasuna arrazoiaren gehiegikeriekin lotzen da, gizarte garaikideen gizagabetzea eta totalitarismoa dakartzatenak. Iluntasuna eta itsutasuna, ordea, baldintza negatibo huts izateari uzten diote eta norbanakoak zapalkuntza politikoari aurre egitean azaltzen duen erresistentziaren metafora bihurtzen dira. Artikulu honetan iluntasunaren eta itsutasunaren ulerkera berri hori aztertuko da Ana Maria Pachecoren artean, Ariel Dorfmanen La Muerte y la Doncella antzezlanean, Marco Bechisek zuzendutako Garaje Olimpo filmean eta José Saramagoren Ensayo sobre la Ceguera eleberrian barrena.
[en] The main purpose of this article is to use a critical and ecological approach to read Horacio Quiroga´s text Los cuentos de la selva (1918) so to think about, what I have intended to name, ecological discourse. In order to achieve this objective, I will analyze how character's speech reveals a "jungle communication". Animals talk but not like human beings do. They use words to talk about native life but they do not talk about important human topics such as soul, thought, and so on. Words are used as an ecological system. Tigers and boas dialogues and toucan expressions have a particular interest: jungle as an event. We can affirm that Quiroga imagines jungle creating characters able to "talk the green" and to "dialogue the habitat".

[eu] Horacio Quirogaren Los cuentos de la selva (1918) ipuinetara hurbiltzeko kritika ekologikoaren ikuspuntua erabiltzen dut, esamolde ekologikoa izendatu dudanari buruz hausnarketa bat egite aldera. Azken honen zera dakar, Quirogaren ipuinetako pertsonaia-animaliek diotena "oihaneko" komunikazio mota bezala aztertu behar dela. Animaliek hitz egiten dute, baina gizakiek ez bezala. Hitzak erabiltzen dituzte, baina hauek, gizateriaren arazo historikoki nabarmenak (arima, arrazoia, e.a.) tratatzeko baino, naturaren bilakaera islatzen dute. Hitzek ekosistema bezala funtzionatzen dute. Tigreen elkarrizketak, boen esaldiak, tukanen adierazpideak, e.a. kezka berezi batek mugatuta daude: oihana gertakari bezala. Kasu honetan esan dezakegu Quirogak oihana irudikatzen duela, "berdea" adierazi eta "habitata" solastatu ahal duten pertsonaiak sortuta.
[en] In this article I shall discuss the Surrealist collection of objects as a form of art which arises out of mass production forces of the new era. These goods, deeply rooted in the capitalist laws of use-, exchange- and surplus-value, carry in themselves two materialist approaches which end in dialectical materialism. On the one hand, they epitomize the supreme forces of commodity fetishism ingrained in capitalist structures; on the other hand, they arouse unconscious desires which respond to the needs of the society of consumption. Thus, I will explore the act of object-collecting in the most radical Surrealist practices (dream objects, found objects, poème-objets, calligrammes, readymades and Surrealist objects) as a way to not only delve into a new art, but also to reflect on societal ongoing transformations and paradoxes.

[eu] Artikulu honetan objektuen bilketa Surrealistari buruz mintzatuko naiz, aro berrian masa-produkziotik kanpo sortzen den arte eredu bezala. Salgai hauek, erabilera, truke eta soberakin balioen lege kapitalistetan sakonki erroturik, materialismo dialektikoan erortzen diren bi ikasbide materialista dakarte beraiekin batera. Alde batetik, egitura kapitalistetan finkatuta dauden salgaien fetixismoaren eredu nagusiak dira; bestetik, gizarte-kontsumoak dituen beharrei erantzuten duten desira inkontzienteak pizten dituzte. Honela, objektu-bilketa aztertuko dut erradikalenak diren ohitura Surrealisten bidez (amesteko objektuak, aurkitutako objektuak, poème-objets eta calligrammes, readymade eta objektu Surrealistak), ez bakarrik arte berri batean sakontzeko, baizik eta martxan dauden aldaketa eta paradoxa sozialak islatzeko.
[en] Latin-American Cultural Studies arise under the Britain and North-American model, but as substratum they enclose an extensive tradition of critical, historiographic and technical studies on culture, as well as a different and very complex cultural reality, which provide its own specificity. I dedicate this article to formulated theories in the vast space of Latin America that arise from the necessity to theorize its own reality.

[eu] Ikerlan kultural latinoamerikarrak ikerlan kultural britainiar eta iparamerikarren ereduen menpean sortu dira, baina ikerlan kritiko, historiografiko eta teorikoen tradizio luzea dute oinarritzat eta, honekin batera, errealitate kultural desberdina eta oso konplexua. Bi ezaugarri hauek berezko espezifikotasuna ematen die ikerlanei. Artikulu hau, norberaren errealitateari buruz teorizatzeko beharretik sortutako Latinoamerikako espazio zabalean azaldutako teoriei, dedikatuta dago.
[en] It is a truth universally acknowledged that a single discipline is insufficient to "grasp the study of culture as a whole" (Johnson, 1986: 279). As a founding father of cultural studies, Raymond Williams already defined this field as "a vague and baggy monster" (1989: 158) that demands an interdisciplinary approach. Aware of the prejudice that the study of science fiction television shows arises in academia, the present study undertakes the challenge of analyzing, from a Cultural Studies perspective, a popular show—The V Series—which combines sci-fi and soap opera elements to catch the general viewer's attention. This tandem will be explored in the patriarchal limitation of female agency behind the appearance of female empowerment. In opposition to these discourses, one of the show's protagonists, Jane Badler (Diana), finally achieves a parodic effect in the alternative discourse of music, where she transcends the commonplace of female heroines/villains in audiovisual SF—e.g. Ripley in the Alien saga, Helena Cain in Battlestar Galactica: Reimagined or Elizabeth Shaw and Meredith Vickers in the latest Prometheus. Although mainly composed by men, Badler's parodical music—together with her performance and self-awareness of its satirical impulse—offers an alternative realm to SF, which systematically shuts the door to empowering femininity.

[eu] Guztiok onartutako egia da, irakasgai bakar bat ez da nahikoa kultura bere osotasunean hartzeko (Johnson, 1986: 279). Kultura ikerketen aita-sortzailea den aldetik, Raymond Williamsek arlo hau "a vague and baggy monster" bezala definitzen zuen (1989: 158), irakasgaien bidezko hurbilketa eskatzen duena. Mundu akademikoan Zientzia Fikziozko telesailen ikerketak sortzen duen gaitzespena kontuan izanda, ikerketa honek, Kultura Ikerketen ikuspuntu batetik, V telesail ospetsua ikertzeari ekingo dio; telesail horrek, ikuslearen interesa bereganatu nahian, Zientzia Fikzioa eta telesail erromantikoen osagaiak biltzen ditu. Bikoizketa hau aztertuko da, gizonen ondoan emakume egileek dituzten mugak, bertako emakumeen botere itxurazkoaren atzean, kontuan izanda. Diskurtso hauen aurka, telesaileko protagonista batek, Jane Badlerrek (Diana), azkenean lortzen du parodia efektu bat, musikaren diskurtso alternatiboaren bidez, ikus-entzunezko Zientzia Fikzioaren heroi maltzurren klitxea gainditzen duelarik —ad. Ripley Alien sagan, Helena Cain Battlestar Galactica: Reimagined filmean, edo Elizabeth Shaw eta Meredith Vickers duela gutxiko Prometheus filmean. Gehien batean gizonezkoek konposatzen badute ere, Badlerren parodia-musikak, baita haren ekintzek eta auto-kontzientzia satirikoak ere, Zientzia Fikzioari, emakumeari botere hartzeko aukera sistematikoki ukatzen diona, esparru alternatiboa eskaintzen diote.
[en] The themes of medieval literature had a profound effect on the works that would follow in later generations regardless of the writer's recognition of this influence, and one can see the way Poe leaves traces of the popular medieval motif of the "Maimed King" in his short story, "The Fall of the House of Usher." This thematic device, which predates the medieval period, gained prominence in the tales of King Arthur and the Grail Quest. Although there is no clear indication that Poe intentionally set out to create a gothic rendition of this traditional theme, that does not discount the possibility of "Usher" having been conditioned in some respect by this medieval notion. Through implementing a close reading of the story and comparing it to a framework of this conception of the "Maimed King," this paper points out a number of striking similarities between the two, as well as demonstrates the far-reaching influence of medievalism in one of nineteenth-century America's preeminent fiction writers, Edgar Allan Poe.

[eu] Erdi Aroko literatura gaiek eragin handia izan zuten ondorengo belaunaldietako obretan, nahiz eta egileak ez ziren eragin honen jabe. Poerengan Erdi Aroko gai herrikoia zen "Errege Elbarritua"ren eragina islatzen da "The Fall of the House of Usher" istorio laburrean. Gai tematiko hau, erdi arotik datorrena, Arturo erregea eta Grial Santuaren bilaketari buruzko kondairetan egin zen ezagun. Ez dago argi Poek nahita sortu ote zuen gai tradizional honen interpretazio gotikoa; dena dela, "Usher"rengan eragina izan zuen. Lan honetan istorio horren irakurketa sakona egin eta "Errege Elbarrituaren" kontzeptuarekin konparatzen da. Horrela, bien artean antzekotasunak daudela frogatzen da, eta Erdi Aroak XIX mendeko Ameriketako fikzio idazle nagusienetako batean, Edgar Allan Poerengan, eragina izan zuela demostratzen da.
[en] In this paper we want to propose two manners of criticism as a sabotage. This concept was created by Manuel Asensi and its effect at present allows us to explain a new episteme. We will analyze these concepts that Manuel Asensi establishes in one of his first works and we will try to make them talk with some essays that Luisa Valenzuela collected in a book of personal and theoretical thoughts.

[eu] Artikulu honetan kritika sabotaje gisa erabiltzeko bi modu azalduko ditugu. "Kritika sabotaje gisa" esaldia duela gutxi Manuel Asensik sortutakoa da, eta hark egun duen eraginak episteme berri bat planteatzera gakartza. Beraz, teorialariak haren lehen lanetako batean aurkezten dituen kontzeptuak aztertuko ditugu, eta Luisa Valenzuelak hausnarketa pertsonal eta teorikoak biltzeko idatzi zuen liburuko saiakera testuekin bateratzen saiatuko gara.
[en] Based on official documents reporting censorship from 1920 to 1970, our goal is to present the studies on censorship in the theatrical performances of non-professional theater groups in the city of São Paulo. These documents are located at the Miroel Silveira Archive, University of São Paulo's School of Arts and Communication library, making the collection of documents studied by the Research Center on Communication and Censorship, with the support of Fapesp, São Paulo state agency sponsoring research.

[eu] Gure lanaren helburua da São Pauloko talde amateurren antzerki-jardueraren gaineko zentsurari buruzko ikerketak aurkeztea, 1920tik 1970era bitarteko kultur-ekintzen gaineko zentsurari buruzko dokumentu ofizialetatik abiatuta. Prozesu hauek egun São Pauloko Unibertsitateko Komunikazio eta Arteen Eskolako Liburutegiko Miroel Silveira Artxiboan daude, eta Komunikazioa eta Zentsura Ikerketa-Taldearen azterketen oinarri dira. Ikerketa-talde hau Fapesp ikerketaren sustapenerako agentziaren laguntzarekin aritzen da.
[en] This paper explores the ongoing history of the ESMA museum's development and argues that the intrinsic and conflictual collective memory work involved is characterized by competing desires to remember and to forget, rooted in the physical, visible, and public space of ESMA.

[eu] Artikulu honetan abian den ESMA museoaren garapena aztertzen da. Ematen den oroimen kolektibo eta norberarenaren eratze lana, nazioaren gogoratu eta ahazteko desira kontrajarriek, ESMAren espazio fisiko, ikusgai, eta publikoan sustraiturik daudenak, karakterizatzen dutela defendatuz.
[en] The aim of this paper is to show how, in the case of the works of Francis Ponge, the lyrical subject of a deliberately non-subjectivist body of work can be constructed, despite – and even because of - the absence of said subject and in opposition to the object which it recreates. Although the disappearance of the subject is a rhetorical strategy to draw attention to the object, both the linguistic features and the communicative intentionality of the texts, serve only to define the subject in question. In the case of the works of Ponge, the lyrical subject coincides with the historical subject Francis Ponge himself. However, putting this fact aside, this paper demonstrates that nothing in language, nor in the reality that it represents, is objective, since every object presupposes a subject.

[eu] Lan honek Francis Pongeren lana abiapuntutzat hartzen du; berez subjetibista ez den lan batean, subjektu lirikoa subjektu hori ez dagoenean nola eraiki daitekeen erakustea du helburu, birsortzen duen objektuaren aurka eraikitzen delako. Egiaz, subjektuaren desagerpena objektua nabarmentzeko erretorika-estrategia da, eta bai hizkuntza-ezaugarriek bai testuen asmo komunikatzaileak subjektu hori definitu besterik ez dute egiten. Pongeren lanaren kasuan, subjektu lirikoak bat egiten du Francis Ponge subjektu historikoarekin, baina hori gorabehera, lanak hauxe aldarrikatu nahi du: hizkuntzan ezer ez da objektiboa, irudikatzen duen errealitatea objektiboa ez den bezala. Izan ere, edozein objektuk subjektua suposatzen baitu.