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La acción artística como producción narrativa: subjetividades, performance y experiencia en el Penal Modelo Ancón II
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2019-12-12) Pastor Rubio, Lorena
This article seeks to reflect on the experience of a performing arts workshop conducted with a group of young men and women in the Ancón II Model Penitentiary in the city of Lima between 2014 and 2018. The study attempts to review how the narratives arise from the subjectivity and, at the same time, configure it, as well as ponder on how the processes and contexts where these narratives are generated constitute important units of analysis to understand the frameworks that produce them. It is proposed that the performance of these young men and women, understood as a corporal action, in its showing doing is capable of generating reflective spaces of encounter and communication with constitutive and transformative power, but also can problematize these discourses, the actions and the links that they constitute.
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Vestir desde la disidencia: resistencia y visibilidad desde la experiencia de tres activistas peruanxs
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2019-12-12) Bustamante Almonte, Fabiola; Ferrer Pizarro, Raisa
This exploratory article analyzes in a qualitatively way clothing trajectories of people who inhabit non-hegemonic bodies and participate in spaces of feminist activism. A series of interviews were carried out with the objective of knowing first-hand experiences in which clothing is used as a tool to actively raise transgressive messages that claim their identities. During the interviews we could also understand how subjectivities are configured on the margins of a society like Peru, where getting dressed responds to tacit and strict rules and fashion is ad-dressed to hegemonic bodies that also fit binarism.
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Presentación. Conexión; Núm. 12 (2019): Subjetividades, resistencias y tránsitos en la comunicación
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2019-12-11) Aguirre, Hugo
No presenta resumen
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El camino del cisne negro: violencias en la construcción del sujeto en Black Swan
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2019-12-11) Gómez Cardeña, Sophia
The aim of this paper is to analyze the film Black Swan (2011), directed by Darren Aronofsky, in order to understand the identity construction of a subject crossed by multiple violence: Nina, the ballet dancer. For this purpose, the analysis will focus on the relationship of the following concepts: the processes of recognition, the dynamics of power and violence, and the experience of motherhood. It is concluded that Nina’s character suffers a double violence. The first one is linked to a patriarchal scheme of structural violence towards women and the feminine and the second one is related to an intimate and symbolic violence: the fusion and lack of recognition of her as a human being separated from her mother.
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Neoliberalismo: medios, política y revueltas
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2019-12-12) Velázquez Núñez, Sofía
No presenta resumen
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«Desde el artificio de la ficción es posible experimentar escenarios políticos futuros»
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2019-12-11) Velázquez Núñez, Sofía
No presenta resumen
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Distrito 9: una subversión al abandono neoliberal desde la performatividad de nuevas alteridades afectivas en el planeta
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2019-12-12) Patiño-Patroni Palacios, Alexis
In this essay, I analyze the science fiction narrative of the film District 9 as a dismantling device for the biopolitical strategies of contemporary liberal democracy. While obscenely legitimizing the utilitarian, post-colonial, and violent characteristics of its forms of representation and subjectivation, the film shows how this global order also sediments epistemic dogmas and regimes of truth, camouflaged through its multicultural recognition policies. As a counterpart, I identify the empathetic relation of the protagonists, and their seek for other possible bonds between the various human and non-human manifestations, making their conditions of possibility visible in the fictions of encounter that the narrative poses to spectators performative imitation. Finally, although I focus on textual interpretation, the predominant approach in the field of film studies, I outline the film’s ability to impact everyday practices and its possibilities beyond spectatorship. In fact, as a conceptual project, District 9 deploys some strategies that transcend conventional film reception to challenge the field of sociopolitical action.
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Subjetividades, resistencias y tránsitos en la comunicación
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2019-12-11) Velázquez Núñez, Sofía; Pasapera Tupiño, Nohelia
No presenta resumen
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Ppkausas, una red digital juvenil que defendió el sistema neoliberal
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2019-12-12) Rivas Frías, Bruno
The purpose of this article is to analyze the virtual social network formed by the young people who participated in the presidential campaign of Pedro Pablo Kuczynski in 2011. In order to achieve this objective, a qualitative methodolo-gy was applied that consisted of a field work composed of interviews in depth carried out to 24 members of the Young Generation PPK collective, the so-called ppkausas. As a result of the analysis, it was observed that this movement used virtual tools to generate a space that came out in defense of the hegemonic system. In conclusion, the case analyzed shows that youth networks can be spaces in which individuals whose subjectivities have been marked by the discourses of individualism are grouped.
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Precariedad, materia en deterioro y subjetividades destituidas: acerca de una «estética de la descomposición» en dos documentales de Heddy Honigmann
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2019-12-11) Dajes Kaufman, Talía
This essay approaches the work of Peruvian- Dutch documentarian Heddy Honigmann by analyzing two of her films Metal and Melancholy (1994) and Oblivion (2008), both set in Lima and centered on the precarious survival of its subjects. The text proposes to interpret each documentary’s visual language as the embodiment of what could be conceptualized as an «aesthetics of decomposition», thatis, the on-screen placement of objects undergoing a process of decay. I argue that, by pointing the camera toward these, the director exposes the economic and political circumstances that led to the gradual disintegration of individual and collective life conditions, as well as the erosion of the benefits previously enjoyed by middle class populations in Peru. By concentrating on the materiality of deteriorating objects, this article aims to connect Honigmann’s viewpoint with the effects that the implementation of neoliberalism may have over a paradigmatic subjectivity that can be conceived as dispossessed.

Conexión. Núm. 12 (2019)

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