Cover

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About the Series, Title Page, Copyright

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Contents

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pp. v-vi

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Foreword

Jean Franco

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pp. vii-xvi

Nelly Richard is a critic and the founder-editor of the Revista de Crítica Cultural, a journal that, for more than a decade, has fostered incisive critical thinking. A Chilean citizen who was born in France and educated at the Sorbonne, she became well known for her judicious assessments of the art auctions that took place during the repressive government of Pinochet, ...

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Acknowledgments

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pp. xvii-xviii

Certain parts of this book were published in magazines, journals, and anthologies before their reinsertion and transformation into this new body of work. Chapter 2, “Torments and Obscenities,” first appeared as “Lo impúdico de lo público,” Revista de Crítica Cultural (Santiago) 11 (November 1995). ...

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Introduction

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pp. 3-12

Aesthetics, culture, and politics: these are the lines of force—and desire— through which this book seeks to analyze certain zones of tension and conflict in Chile under the democratic transition process. These zones are more or less residual, pointing to unstable formations of symbolic and cultural deposits and sedimentations, where shredded meanings that for social reasons have been omitted or discarded come together. ...

I. Policies and Politics of Memory, Techniques of Forgetting

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1. Cites/Sites of Violence: Convulsions of Sense and Official Routines

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pp. 15-30

The consensual model of a “democracy of agreements” formulated by the Chilean government of the Transition (1989) marked a passage from politics as antagonism (the dramatization of conflict governed by a mechanism of confrontation under dictatorship) to a politics of transaction (the formula of a pact and its techniques of negotiation). ...

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2. Torments and Obscenities

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pp. 31-46

Between memory and history, there is a difficult meshing of signs that deal with the critical operation of memory production. Woven into the diffuse folds of twisted meanings, this tangle of signs escapes from the principal narrative toward secondary narrations. ...

II. The Popular and the Urban: Scenic Fragments

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3. Neobaroque Debris: Scabs and Decorations

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pp. 49-58

Modernity is expert at multiplying eviction notices against anything that disobeys the slogan of temporal rupture that “the new” uses to coldly dismiss the old and toss in the garbage whatever is left behind by the velocity of commodity production. However, “modernity sees growing all around it the uncomfortable proximity of wastes, ...

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4. The Congealment of the Pose and Urban Velocities

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pp. 59-72

Ever since I became familiar with these photos collected over the years by Chilean artist Eugenio Dittborn,1 they have been hovering around me, without my knowing whether they were so powerfully captivating because of the images themselves (the seriality of the bodies, the obsessional mark of an invariable repetition of manners and postures), ...

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5. Dismantlings of Identity, Perversions of Codes

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pp. 73-82

Clothes, dress fashion codes, are one of the languages through which cultural identities are expressed in a dialogue of voices (canonical or parodic) with the already-constructed discourse of social classes and sexual representations. Cultural identities become aware of themselves when they select, among different bodily presentations in society, ...

III. Academic Borders and Hybrid Knowledges

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6. The Academic Citation and Its Others

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pp. 85-94

Knowledges, tacitly interlaced with structures of power through ramified intersections of meaning, are regulated by a policy of boundaries that delineate the borders of social recognition and the valorization of knowledge. The university machine is the dividing line between legitimate (authorized) knowledge and illegitimate knowledge. ...

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7. Antidiscipline, Transdiscipline, and the Redisciplining of Knowledge

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pp. 95-106

Although still scanty and often precarious in their achievements, certain attempts to modify the rules that configure traditional knowledge are shaping themselves in the context of a contemporary reflection that critiques the academic model in postdictatorial Chilean universities.1 ...

IV. Polemics and Transvestisms

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8. The Graphic Model of an Advertising Identity

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pp. 109-118

Chile’s presentation at the Expo Sevilla ’92 indicated the nation’s first opportunity to shine internationally, an opportunity for the government of redemocratization to represent itself through a performance of identity that had the peculiarity of condensing—graphically—several of the official meanings connoted by Transition policies. ...

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9. Turbulence, Anachronism, and Degenerations

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pp. 119-130

A conflict from the art world seized popular attention both in the press and on television during more than two weeks in August 1994; the pretext was the aesthetic transgression of a work that satirized for the first time the patriarchal ideologemes of Latin Americanist discourse in Chile. ...

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10. Gender, Values, and Difference(s)

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pp. 131-142

In August 1995, the word “gender” polemically interrupted the national public debate centered on the Chilean Senate’s response to the official policies that the National Woman’s Service (SERNAM) would bring to the Fourth Beijing Conference. During that same month, the Department of Philosophy and Humanities of the University of Chile inaugurated its postgraduate degree in gender studies,1 ...

V. Points of Flight and Lines of Escape

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11. Take the Sky by Assault: Political Transgression and Flight of Metaphors

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pp. 145-158

The most insidious effect of the officialization of consensus effected by the discourse of the Transition could be the flexible revision of articulation and thought through common technologies of regularization and standardization of the social. This ordering of speech and thought controls both the tone of the voices, their registers and inflections, ...

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12. For Love of Art: Critical Ruptures and Flights of Fancy

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pp. 159-176

The Chilean postdictatorship orders its landscape without tensions by resorting to pragmatic coordinations of discourses that, while exalting the agreement between politics and the economy, functionalize the social and weaken, with their antinarrative of what is only reasonable and utilitarian, the strong sense—yearning and accusing—of the historical. ...

Notes

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pp. 177-208

Select Bibliography

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pp. 209-210