BSC-LT/ACAData huggingface dataset:
[en] This article examines the struggle between the dictatorship of the Lukashenko government and the Belarus Free Theatre over performance space in Minsk. As a performance of power, the state restricts the ability of the Free Theatre to perform in Minsk, forcing them to stage their theatre underground. The Belarus Free Theatre counters this censorship by enacting a form of 'performative resistance' that redefines modes of political participation and facilitates the creation of democratic spaces through the event of their performances.

[eu] Artikulu honetan Lukashenkoren gobernu diktatorialaren eta Belarus Free Theatre antzerki-taldearen artean Minskeko antzezpen-espazioaren kontrolaren inguruan sortu ziren tirabirak aztertzen dira. Estatuak, bere boterea erakusteko, Belarus Free Theatretaldeari Minsken antzezteko aukera mugatzen dio, eta ezkutuan antzeztera behartzen du antzerki-konpainia. Belarus Free Theatrekoek zentsurari aurre egingo diote parte-hartze politikoaren ereduak berraztertzen dituen eta haien ekitaldien bitartez espazio demokratikoa sortzen laguntzen duten 'performative resistance' (antzezpenaren bitarteko erresistentzia) erabiliz.
[en] This essay examines some of the critical and theoretical approaches in the area of historical memory and identity studies that have emerged as a response to the contemporary cultural challenges that have resulted from the social and political transformations which have taken place globally in the last decades. The essay narrows its focus to a case study of the role of historical memory in the formation of collective identities in contemporary Spain, in the aftermath of the dictatorship and the subsequent political transition. This study explores in particular the use of the trope of haunting ghosts in contemporary Spanish literature and cinema as a symtomatic form of spectrality of the repressed collective past.

[eu] Saio honek memoria historikoaren esparruko hainbat hurbilpen teoriko eta kritiko aztertzen ditu. Era berean azken hamarkadatan globalki gauzatu diren eraldaketa politiko eta sozialetatik datozen erronka kultural garaikideen erantzunez sortu diren nortasun ikerketak aztertzen ditu. Saioak arreta berezia ematen dio memoria historikoaren paperari buruzko ikerketa bati, nola osatu diren Espainia garaikideko nortasun kolektiboak, diktaduraren ostean eta ondorengo trantsizio politikoan. Ikerketa honek bereziki aztertzen du egungo literatura eta zinema espainiarrean mamu ehizaren erabilpena, jazarpena sufritu duen iragan kolektibo baten modu espektralaren sintoma bezala.
[en] This paper suggests the possibility of making use of the narrative of migration as the object of study of a comparatist discipline that takes into account Armando Gnisci's considerations on hospitality, as well as Gayatri Spivak's on planetarity and comparative literature. In this sense, the paper aims at suggesting a possible line of research en comparative literature that needs not rely on the concept of national literature to be developed. The analysis of the narrative of migration, through a series of variables well recognised in travel literature, allows both in form and contents a comparatism of the encounter.

[eu] Honako artikulu honek, migrazio-bidaiaren kontakizuna diziplina konparatista batean aztergai moduan erabiltzearen aukera defenditzen du, kontutan hartuz, batetik, Armando Gnisciren hausnarketak abegikortasunaren inguruan, eta bestetik, Gayatri Spivakenak, literatura konparatuaren izaera planetarioari buruz. Honela, literatura konparatuaren baitan 'literatura nazional' kontzeptuaren beharrik izango ez duen ikerketa ildo baten aldarrikapena egiteko asmoa du. Migrazio-bidaiaren kontakizunaren azterketak topaketaren konparatismo bat ahalbidetzen du hala mamian nola eitean, bidaiaren tradizioaren baitan aintzat hartzen diren zenbait aldagairen bitartez.
[en] In this article, I propose reading the body as a privileged space to debate Venezuelan politics. I expose the violent metaphorical and allegorical operations that manage to disfigure the national bodies, taking them to the very limits of monstrosity before normalizing them. Notwithstanding the compulsion to denounce the political adversary that defiles the Venezuelan 'holy' family, the need to preserve the national body par excellence is stronger than these differences and the incidental possession of power. The bodies that make up this national family are problematic productions that offer little space for other bodies and sensibilities to destabilize, revise, or re-articulate the Venezuelan nation's most conservative values.

[eu] Artikulu honetan, gorputza Venezuelako politika eztabaidatzen den lekune abantailatsu bezala irakurtzea proposatzen dut. Bereziki, azalduko dut nazioaren eta haren biolentziaren operazio metaforiko eta alegorikoek gorputz nazionalak nola desitxuratzen dituzten, munstrotasunera iritsi arte, ondoren, normalizatzeko. Venezuelako familia sakratuaren desitxuraketan etsai politikoaren erantzukizuna salatzeko konpultsioa izan arren, nazioaren gorputz nagusia kaltegabe mantentzeko beharrizanak diferentziek eta noiz-nolako boterearen jabetzak baino indar handiagoa izango du. Nazio familia hori osatzen duten gorputzak produkzio arazotsuak dira, eta Venezuelako nazioaren balio kontserbatzaileenak desegonkortzeko, berriskusteko edo berridazteko beste gorputz eta sentsibilitateentzat leku txikia utziko dute.
[en] The present article compares two novels that were published at a similar time, José María Arguedas' Los ríos profundos and José Revueltas' El luto humano. The nonconformist nature of these books and that they are both based around a key continuity makes them appear as similar works, be it historically or in relation to the national or continental literary canons that they are apparently part of. However, if one reflects upon subjectivity complexes and the boundaries of representation, it becomes apparent that these works are disparate in their dealings with indigenous subjects (both popular and marginal ones); it also becomes apparent that each work promotes specific kinds of dialectic, ideology and conscience.

[eu] Artikulu honek denboran hurbil dauden bi eleberri konparatzea du helburu, José María Arguedasen Los ríos profundos eta José Revueltasen El luto humano. Jarraitutasun zentralaren inguruan duten izaera oldarkorrak ekintza gertuko edo antzeko gisa ikusarazditzake, bai Historiaren aurrean, bai itxuraz txertatuta dauden literatur sistema nazionalen eta kontinentalen aurrean. Hala ere, eta subjektibotasun-konplexuekin eta irudikapen-muga batekin loturiko hausnarketen bitartez, adierazpen horiek ekintza desberdin gisa agertzen dira subjektu indigenekiko (baita subjektu herrikoi edo marjinalekiko ere) duten harremanari dagokionez; eta, halaber, dialektikaren, ideologiaren eta kontzientziaren bertsio espezifiko gisa.
[en] Itxaro Borda presents in her poetry a visionary aesthetics of plurality (of language, body, sexuality, culture and geography) that point to a celebration of alterity and of resistance toward values imposed by the univocality and hyper-masculinity of a Basque nationalism that the author often denounces. Her criticism of the language/nation from within the language/nation that includes differences allows the fixity of the discourse of power to be dismantled, resisting its essentialisms and hierarchies from a "mobile centrality" in the fluctuating aesthetics present in her poetry.

[eu] Itxaro Bordaren obra poetikoko (gorputzaren, hizkuntzaren, sexualitatearen, kulturaren eta geografiaren) aniztasunaren izaera aldarrikatzaile eta ameslaria aukera ugaritasunaren eta erresistentziaren isla da Iparraldeko autoreak maiz esplizituki kritikatzen duen euskal nazionalismo adierabakar, hipermaskulino eta zurrunak ezartzen dituen balioekiko. Ezberdintasunak barne hartzen dituen hizkuntza/naziotik hizkuntza/nazioari egiten dion kritikak boterearen arrazoibide adierabakarra indargabetzea lortzen du, Bordaren obra poetikoak aurkezten duen aldizkatze-estetiketan "zentralitate mugikor" edo mugikortasun periferikoaz baliatuta esentzialismo eta hierarkiei aurre eginez.
[en] This article is an analysis of the last Argentinean dictatorship discourse and its articulation through the instances of silence and memory. To elucidate them, we deal with the technologies of violence and its discursive consequences: the exhaustion of the collective ability to tell stories, the denial of collective aberration and the perversion of language. From there, we study the discursive axes through which the fiction of the Process was built on: messianism, manichaeism and organicism. Finally we evaluate the development of new symbolic discourses in response to dogmatism, the creation of partial, fragmented and provisional fictions that challenged the official story.

[eu] Artikulu honen helburua Argentinako azken diktaduraren diskurtsoa aztertzea da, eta isiltasunaren eta memoriaren bitartez nola eraiki zen ulertzen saiatzea. Horretarako, indarkeriaren teknologien oinarria sakon ikertuko dugu, baita horrek diskurtsoan eragin dituen ondorioak ere: gizarteak istorioak kontatzeko gaitasuna galtzea, herritar guztiek izugarrikerien aurrean begiak ixtea eta hizkuntza bihurritzea, hain zuzen ere. Jarraian, Prozesuaren fikzioa eraikitzeko diskurtsoaren ardatz nagusiak aztertuko ditugu: mesianismoa, manikeismoa eta organizismoa. Amaitzeko, dogmatismoari aurka egiteko sortu ziren diskurtso sinboliko berriak ebaluatuko ditugu, fikzio partzialak, zatikatuak eta behin behinekoak, historia ofiziala zalantzan jarri zutenak.
[en] In this work I propose to analyze how the cinematographic transposition of Strangers on a train has changed the suffocating amoral world of Patricia Highsmith in a typical Hitchcockian frantic suspense story, blurring the darkest edges of the characters and situations of the original novel. The aim is not to determine whether the film is "more", "better" or "worse" than the text –an unproductive enterprise– but to reflect on the operations made by the director to seize the literary work and make of it a film that responds to his own vision of the world and of cinema.

[eu] Lan honetan proposatzen duguna Ezezagunak tren batean (ETBko bertsioan Trenean ezagutu berri) eleberriaren zinemarako transposizioak Patricia Highsmithen mundu itogarri eta amorala nola aldatu duen aztertzea da. Zinemako bertsioa Hitchcocken ohiko erretratua da, suspense bizkorrekoa, eta, horretarako, jatorrizko eleberriko pertsonaien eta egoeren ertz ilunenak lausotu ditu. Helburua ez da filma testua baino "gehiago", "hobea" ala "okerragoa" den esatea ―ez litzateke batere produktiboa izango―, baizik eta zuzendariak idazlana bere egiteko eta bere munduaren eta zinemaren ikuspegiari egokitzeko erabilitako tresnei buruz hausnartzea.
[en] Solitude is one of the most obvious subjects in Itxaro Borda's works. Since it is a complex theme that takes different forms in her writings, we will first situate the notion in Western literature, in order to better understand the basis of Itxaro Borda's modernity. Then, we will study the different and paradoxical aspects of solitude in the author's books, and underline which problems related to expression are linked to that subject. Finally, following our thoughts about solitude in Itxaro Borda's universe, we will compare the writer's poetical and prosodic works, so as to underline where, in our opinion, lies the great audacity and modernity of her novels.

[eu] Bakartasuna da Itxaro Bordaren idazlanetan agertzen den gai nabarmenetarik bat. Gai hori konplexua izanez eta era ezberdinetan azaltzen denez Itxaro Bordaren obran, lehenik nozio hori Mendebaldeko literaturaren historian kokatuko dugu, hobeki ulertzeko interesatzen zaigun obraren modernitatea zertan datzan. Aztertuko dugu ondotik bakartasuna zein manera paradoxikotan agertzen den Itxaro Bordaren liburuetan, bai eta gai horri lotuak zaizkion adierazpide arazoak azpimarratuko ere. Azkenik, beti Itxaro Bordaren unibertsoko bakartasunaren ildoa aitzurtuz, konparatuko ditugu Itxaro Bordaren hitzlauzko eta hitzneurtuzko lanak, nabarmenduz bere eleberrien ustezko ausardia eta modernitate handia.
[en] This essay offers a critical review of the different stages along the elaboration of a theory, a methodology and a canon for what we nowadays call literary studies. Thus, the first step of this journey consists on the recording of the sources of this path which appears, as a symptom of modernity, during the first half of the 19th century. As we carry on with our analysis –second step-, the problematic –oftentimes antithesis– which can be appreciated in the coined categories is shown from different angles. The third step –the decisive one– stems from an attempt to evaluate critically this course as well as the discovery of certain openings that, in our opinion, host the magisterial lessons of a theoretical thinking that seems to have stagnated from the second half of the 20th century onwards. The title "Counterpoint" illustrates the character both antithetical and synthetic of our topic.

[eu] Saiakera honetan ibilbide kritikoa egingo dugu gaur egun ikasketa literarioak deitzen diogunaren teoria, metodologia eta kanona osatzeko etapa desberdinetatik. Zentzu honetan, lehen urratsa modernitate sintoma gisa XIX mendearen lehen erdian azaltzen den bidaia honen iturrien erregistroa egitea izango da. Analisian – bigarren urratsa –, eraikitako kategorien problematika, eta askotan antitesia, aurkeztuko da ikuspegi desberdinetatik. Hirugarren urratsean – urrats erabakigarria–, ildo hauen balorazio kritiko bat egiten saiatuko gara, eta gure iritzian XX mendearen bigarren erdian pausatua geratu den hausnarketa teorikoaren ikasgai magistralen zirrikituak azalduko ditugu. Izenburuak, "Kontrapuntua", gure gaiaren izaera antitetiko eta aldi berean sintetikoa adierazten du
[en] This article deals with the status due to plagiarist proposals, and with the possible existence of a programmatic unity under the label of Plagiarism. In order to do so, plausible historical models and appropriation poetics are considered, a quest is led for founding acts as well as a comparison of some of the trends grouped under the label of "Plagiarism" and postmodern poetics.

[eu] Artikulu honetan proposamen "plagiaristak" zein estatusen arabera interpretatu behar diren galdekatzen da, Plagiarismo apelazioaren baitan unitate programatikorik ba ote dagoen aztertuz. Horretarako, jabetze poetiken modelo historikoen inbentario bat burutzen da, egintza fundazional posibleak ikertzen dira eta "plagiarismo" etiketapean biltzen diren joerak poetika postmodernoen ezaugarri garrantzitsuenekin konparatzen dira.
[en] This article seeks to discuss whether or not the reality of life in a West Rio the Janeiro favela, as depicted in the 2002 film City of God, has been manipulated. With this discursive proposition as starting point, the essay will attempt to contextualise the way the plot was rendered, and to question the degree to which it resembles reality, as well as its adaptation to the gangster genre which gives rise to the feeling that, within a real context, this is a 'fabricated story': what international audiences would see as the exotic world of the favela.

[eu] Artikulu honetan Ciudad de Dios (2002) filmean, Rio de Janeiroko mendebaldean kokatzen den favela batean, narratzen den errealitatearen manipulazioaren hipotesia aztertzen da. Proposamen honetan, saiakerak trama nola fokatu zen atera nahi du azalera , gangsterren generoan moldatu eta hurbiltzeko keinua zalantzan jartzen du, testuinguru erreal batean "Istorio fabrikatua" delako sentimena sortzen du: favelako unibertsoa, nazioarteko salmentarako exotikoa.
[en] Can the poet take charge of the "us" without succumbing to a sentimental idea of community with utopian postponement as its backbone? How can both the cause of women and that of the inferior nation be simultaneously debated without one of them tending to shadow the other beneath a totalizing umbrella? How do you construct a non-heroic epic appropriate to a time when mythic or technique narratives about the origin of a community are no longer possible? In their books of poems (published in 2000), Chus Pato and Ana Romaní present models which interrogate the community through the transformation of the epic's poetic forms so as to question national identity through sexual difference.

[eu] Hartu al dezake poetak gu-a bere gain, geroratze utopikotik abiatuta egituratutako komunitate sentimentalaren ideiaren aurrean amore eman gabe? Nola eztabaida ote dezake denbora emakumeak edo menpeko nazioa direla-eta batak bestea aterki totalizatzaileak bezala barne hartu gabe? Nola eraiki epika ez heroikoa, komunitatearen jatorriari buruzko narrazio mitikoak edo teknikak posible ez diren unean? 2000 urtetik aurrera argitaratutako poema-liburuetan, Chus Patok eta Ana Romaník poesia epikoa eraldatzen dute eta, horrela, komunitatea galdekatzeko ereduak eskaintzen dituzte, identitate nazionala aztertzeko desberdintasun sexuala abiapuntutzat hartuta.
[en] The present paper discusses Tommaso Marinetti's and Valentine de Saint-Point's treatment of the theme of love in relation to the ongoing theoretical debate on the death of the avant-garde. It examines some of the most controversial texts against love written by the two futurist authors and explores the possibility of a non-historicist approach to these writings. In particular, using the Derridean notion of textual 'transplantability', the paper re-situates the futurist polemic against love in contemporary culture and suggests an 'un-timely' connection between the cultural context of the old avant-garde and the present time. In the light of this connection, the paper argues for a broader understanding of the relationship between the 'dead' and the 'living' in avant-garde studies.

[eu] Artikulu honek Tommaso Marinetti eta Valentine de Saint-Pointek maitasunaren gaia nola lantzen dute aztertuko du abangoardiaren heriotzaren eztabaidaren baitan. Bi autore futuristek maitasunaren aurka idaztitako idatzitako testurik polemikoena eta idazkionganako hurbilketa ez-historizista batentzako aukera aztertuko du arretaz. Batez ere, testu "transplantagarritasun"aren (transplantability) nozio derridearra erabiliz, artikuluak maitasunaren aurkako eztabaida futurista kultura garaikidean kokatu, eta atzoko abangoardien testuinguru kulturalaren eta gaur egungo egoeraren arteko "ezorduko" lotura proposatuko du. Lotura honen harira, artikuluak "heriotza" eta bizitza"ren arteko erlazioaren ulermen sakonagoa argudiatuko du abangoardien ikasketetan.
[en] This article addresses the borders of the complex television sign through the analysis of the Argentinian TV show Peter Capusotto y sus videos. In it we find that humor is used as a mechanism to dismantle binary hierarchic political and social oppositions. The program is presented as a musical and comedy TV show where concepts such as popular culture and mass culture are questioned through different false musicians. We focus our attention in the character of Bombita Rodríguez, el Palito Ortega montonero due to the controversy generated in the cultural scene by the fact of bringing up recent aspects of Argentinian history.

[eu] Oraingo artikuluak telebista ikurren ertz konplexuak lantzen ditu Peter Capusotto y sus videos argentinar programa analisiaren bitartez. Bertan umoreak opozisio hierarkiko (politiko eta soziala) bitarra desegiteko erabilia dela ikus genezake. Musika eta umore proposamen programa bezala aurkezten da, non zenbait musikari apokriforen bitartez, kultura popular eta masen kulturaren kontzeptuak kolokan jartzen dira. Gure hausnarketa Bombita RodrÍguez, el Palito Ortega montonero pertsonaiaren begietan jartzen dugu, arlo kulturalean argentinar historiaren gaiak jorratzean sortu duen eztabaidagatik.
[en] This paper proposes a series of reflections on comparative literature and its relationship with cultural studies, with particular emphasis on literature's place in this relationship. It addresses the importance of interdisciplinarity and multiculturalism to re-evaluate the perspectives or tools used to address both literary analysis and cultural practices in general. It also reflects on socio-historical concern and commitment to achieve a productive approach. Via a general consideration of the aims of contextualising and the relationships and complementation between discourses, it provides a contrasting dialogue between different positions.

[eu] Lan honek literatura konparatuaren eta honek ikasketa kulturalekin duen harremanen inguruko zenbait hausnarketa proposatzen du, batez ere harreman horietan literaturak betetzen duen lekua zehazte aldera. Zehar-lerroak eta kultur aniztasunaren garrantziari heltzen dio, erabiltzen diren baliabideak edo lerroak aztertzeko, bai literatura azterketan, bai kultur praktika arruntean, orokorrean. Honez gain, aintzat hartzen ditu gizartean historikoki dauden kezka eta konpromisoa, fokatze eta ikerketa emankorrak lortzearren. Era berean, testuingurua osatzeko helburuak eta diskurtso desberdinen arteko harreman eta osatzeak zalantzan jarriz, jarrera desberdinen arteko elkarrizketa bereizgarria burutzen du.
[en] This paper explores the idea of métissage – a kind of intertextuality – as it has been theorized by Françoise Lionnet (1989) through a close reading of Le Cow-boy (1983), an autobiographical novel by Djanet Lachmet about the Algerian Revolution (1954–1962). Lionnet (1989) describes métissage as a textual weaving of traditions in order to reintroduce oral Creole customs and to re-evaluate received Western concepts. The term carefully links issues of race, politics, reading and writing. Described as a "life-story", Lachmet's Le Cow-boy is the story of Lallia, a young girl growing up during the Algerian liberation struggle of the 1950s and sixties. Providing both a critique of métissage and study of its possible manifestation in the novel, I ask whether life-writing is – in this case – a kind of stratagem that opens up ambiguous spaces of possibility where a subject of violent history and an agent of discourse might engage with one another; where new modes of interaction between the personal and the political might be meaningfully explored.

[eu] Artikulu honek Françoise Lionnet-en (1989) métissage —intertestualitate modu bat— kontzeptua aztertzea du helburu, eta horretarako Djanet Lachmet-ek Aljeriako Iraultzari (1954-1962) buruz idatzi zuen Le Cow-boy (1983) eleberri autobiografikotik abiatuko naiz. Lionneten (1989) ustez, métissage tradizio-multzo testual baten antzekoa da, ahozko usadio kreolak berriro txertatzeko eta mendebaldeko kontzeptuei buruz beste behin hausnartzeko. Terminoak tentu handiz lotzen ditu arraza, politika, irakurketa eta idazketarekin zerikusia duten kontuak. "Biografia" gisa deskribatu dutela, Lachmeten Le Cow-boy eleberriak Lallia-ren istorioa kontatzen digu, berrogeita hamarreko eta hirurogeiko hamarkadetan Aljeriako askatasun-borroken testuinguruan hazi zen neska gazte batena. Métissage-aren kritika eta hark eleberrian duen zilegizko presentzia aztertzeaz batera, nire buruari galdetzen diot biografiak idaztea ez ote den —kasu honetan— aukerazko espazio anbiguoak ahalbidetzen dituen amarru modukoa, non historia bortitzeko ikergai baten eta elkarrizketa-agente baten arteko elkarreragina gertatzen den, non ezaugarri pertsonal eta politikoen arteko interakzio modu berriak zentzu handiz azter daitezkeen.