Galaxia Hollywood (Colección Endebate): Catorce perfiles clásicos (Spanish Edition)

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Productora de Contenidos Culturales. Jorge La Ferla jorgelaferla gmail. La historia del dispositivo televisivo es una manera de abordar, y diferenciar, variados aspectos del consumo y de las posibilidades creativas que brindan hoy las redes. Asimismo, la vigencia del concepto de flujo televisivo definido por Williams ha alcanzado un lugar central en los estudios del medio. Es autor de Eisenstein: Razones no faltan para esto: No se trata, por lo tanto, de proponer recetas.

Es necesario dejar que el producto audiovisual se revele para el analista con la fuerza de sus propios enunciados. En el griego antiguo, analysis significaba exactamente eso: Se debe ser consciente de esto para no comprometer la integridad del objeto de estudio. En ciertos momentos es necesario recurrir a procesos mixtos, todos ellos limitados: Por lo tanto, para citar un fragmento de la obra literaria analizada, basta abrir comillas y reproducir el texto.

Se puede hasta decir, como lo hace Anne-Marie Duguet Algunos ejemplos de esta especie ya existen. Entre muchos otros, podemos citar: Casetti, Francesco e Frederico di Chio In Its Own Image. How Television Has Transformed Sports. Technology and Cultural Form. En este ensayo se proponen nuevas formas para el discurso televisivo: La tele le sirve a la gente para relajarse, conversar y mejorar autoestima. Cada cultura-pop-mundializada se constituye en torno a sus disfrutes y goces, pero sobre todo a sus experiencias de sentido: Y todo se concreta en que estas series producen una experiencia audiovisual otra: Una experiencia mundializada y transpantalla que pone en secuencia todas las usanzas del audiovisual a la manera televisiva: Sus padres pueden ver sus trabajos en la plaza del pueblo y sentirse orgullosos de sus hijos.

Todos la pasan bien, se divierten y alejan los miedos de la guerra. Esta experiencia ha ganado premios, porque cuenta historias cotidianas y desde una perspectiva infantil. En cambio, para la prensa, no. Algunas claves simplificadas acerca de lo popular televisivo son: Lo que sabemos, lo sabemos entre todos: Los formatos son, entonces, los modos en que se crea y reinventa un producto televisivo2: Por mencionar algunos formatos posibles: Pero como no hay mejor forma de perder el tiempo, de ganar la nada, de alcanzar el aburrimiento, de relajarnos y descerebrarnos: Viene en diversidad de experiencias audiovisuales que integran viejas y nuevas ritualidades narrativas.

Horkheimer, Max y Adorno, Theodor, La industria cultural. Saraintaris, Nico, Algunas tendencias invaden el mundo del cine, www. Valencia, Javier J, David Lynch: Para citar algunos ejemplos: Con tantas cabezas diferentes, el canal no pudo cultivar una identidad solvente, clara y perdurable en el tiempo. Los auspiciantes compran el acceso a determinadas audiencias. Este modelo pretende mantener a las producciones libres de las influencias de la publicidad. Es por esto que el siguiente texto es un primer y humilde borrador para seguir trabajando, puliendo, discutiendo y completando.

Federal implica contenidos diversos que busquen representar la totalidad de las culturas presentes en el territorio. Debe tratar de generar programas que sean elegidos por las audiencias por su goce y entretenimiento. Se pueden hacer ficciones a bajo costo, lo fundamental es tener una buena idea.

Esto habla del pulso de una sociedad. Y no significa que se busque repetir lo que hacen las televisoras privadas sino analizar a las audiencias. Los contenidos de los programas van variando con el acontecer social. Es por eso que lo que tiene rating en un determinado momento habla de la sociedad que lo sintoniza. Pero al ser sustentado por el Estado se le exige vincularse con los ciudadanos.

Por exitosos se entiende que hayan tenido audiencia, no que hayan cumplido con el mandato del gobierno de turno. Un programa exitoso es un programa visto. Los canales privados de mayores audiencias son expertos en intentar consolidar una imagen de marca en el tiempo.

El-Comunicador-En-Salud--Perfil-de-Un

El comienzo de un debate. Expectativas educativas de las audiencias televisivas. Pensar los medios en la era digital. La libre iniciativa de los internautas hizo el resto. Cada uno en su estilo. Cada uno en su verdad. Cadenas transnacionales latinoamericanas o europeas dirigidas a los latinos, como TVE. Steelers en junio de , transmitido por Fox con 10,1 millones de audiencia Vanderberg, En el contexto de la lucha por los derechos civiles en Estados Unidos, producidas como Ahora! Esta estrategia tiene varios frentes. Tercero, un esfuerzo de mercadotecnia y venta, en donde las televisoras se han aliado a casas de marketing y software de venta para administrar la venta de sus portales.

The industry and its critics. Urbana and Chicago, Il: Growth and trends in U. The handbook of Spanish language media. New York and London: The importance of Spanish-language and Latino media. The Marketing and Making of a People. University of California Press. Ratings Success in Accesado en Septiembre 5, desde http: Acceso el 15 de marzo de , desde http: TV By the numbers. Accessed September 6, from http: TV by the numbers. How the telenovelas is beating the networks.

zapping tv - Bibliothek der Friedrich-Ebert

Hollywood Reporter Apr 8, Television, the State and the Rise of Chicano Cinema. University of Minnesota Press. Language and cultural identity in the new configuration of the U. Race, Language and Class. San Antonio Express Telemundo buoyed by ratings success of non-Mexican telenovelas. Telemundo posts May aud gain. Accesado en Septiembre 6, desde http: Boletines de prensa Accesado el 25 de febrero desde http: Television History Among Hispanic Viewers. Accessed August 22, , from http: Lou Dobbs and the rise of the modern nativism.

Pertenece al Sistema Nacional de Investigadores desde Nivel 1. De a , los canales 2, 4 y 5 experimentaron cierta competencia hasta que se fusionaron y formaron Telesistema Mexicano. La estrategia de TV Azteca desde un inicio fue muy agresiva. La Cadena Tres inicia transmisiones en y en En este caso, el gobierno federal es identificado como el principal patrocinador Actualmente es una de las cartas fuertes de la novel cadena latina estadounidense Estrella TV De a se destacan las tres temporadas de la La Familia P.

Esta cadena, propiedad de la empresa Liberman Broadcasting, inicia transmisiones a varios mercados hispanos de los Estados Unidos en septiembre de Su financiamiento recae en los presupuestos de ambos poderes. Destacamos que el Canal del Congreso tiene un consejo consultivo, en el que participa la sociedad. Sin embargo, no todo es tan negativo. Ad Age Data Center. Open Society Foundation- Media Program. State of the Hispanic Consumer: The Hispanic Market Imperative. Orozco, G y Vasallo, I Coor.

The Case of Azteca America. Televisa Annual Report , Form. No en vano sigue siendo uno de los temas favoritos que se comparten en las nuevas tertulias de las redes sociales. Como vive de las audiencias, que venden a valor segundos a los anunciantes, no puede darse el lujo de estar mucho tiempo ignorando lo que quieren ver.

Sin embargo, ello no significa que la industria haya reflexionado demasiado sobre esos gustos. Su centralidad genera programas satelitales que se ocupan de comentar o replicar sus contenidos, lo que los hace omnipresentes en la grilla. Unesco, Global Education Digest , Montreal, , en http: Y nos permite hablar de eso que sabemos todos, con una libertad que pocos temas nos habilitan. Que fragmentan los presupuestos.

Que bajan la calidad de la oferta. En algunas regiones se ven canales locales Contenidos Digitales Abiertos www. En ese punto, los datos difundidos por el sitio oficial apoyan estos logros: Osvaldo Nemirovsci, coordinador de la TDA, escribe en su blog: Como si los mismos que saben elegir un gobernante no pudieran escoger adecuadamente un programa nocturno. Captura de web oficial del programa http: En julio de se dejaron sin efecto.

Una cosa es que sea el piso desde el cual partir, otra muy distinta es que se convierta en un techo. Sin embargo, los mismos beneficiados de los concursos reconocen limitaciones de los presupuestos acotados. A la vez, hay muchas que siguen sin encontrar auspicio por ser contadas: Los noticieros empiezan a ceder espacios a esbozos de periodismo ciudadano, con espacio para notas de iniciativas de la comunidad o para grupos sociales no considerados, como el ciclo Esta es mi villa, de TN. Hay un punto en que las televisiones comercial, estatal y comunitaria coinciden: Todo confirma que se terminaron los receptores, excepto que hablemos de antenas o cables coaxiales.

De todas las teles esperamos que no nos hablen de ellos, sino de nosotros. Television and contemporary criticism. University of North Carolina Press. Rompiendo pantallas, buscando la celebridad. El fin de la historia de un mueble. Escenarios actuales, problemas y potencialidades.

Em , aceitou o cargo de Ombsdsman, do Jornal do Campus. Imagino que, quando olham para os filmes, eles identificam na tela uma forma potente de arte, que desvela o mundo o mundo deles , ao tempo que inventa esse mesmo mundo e sua linguagem. Os espectadores na terra do Tio Sam carregam isso pelos olhos: Paro um minuto e reconsidero.

De resto, permanece o que foi dito. Mas, antes de mergulharmos nos monitores do Brasil, aguardemos ainda um pouco mais. No Brasil, a TV ocupa uma centralidade mais alta e mais profunda, mais larga e mais densa do que aquela que se observa na BBC. Isso vem mudando aceleradamente o nosso contexto cultural. Em agosto, circulou o resultado de mais um desses estudos, noticiado em agosto pelo jornal O Estado de S. Os que apareceram mais na TV chegaram ao segundo turno ou se elegeram logo no primeiro turno.

Mantenho essas ideias ainda hoje. As coisas se desenvolviam de um modo que hoje nos aparece com bastante clareza: O Brasil se uniu diante dos monitores. Aquela foi uma grande Copa da TV. Dessa forma, a matriz das telenovelas continua sendo a Rede Globo. Depois disso, Benedito Ruy Barbosa se mudou para a Globo.

O rei do gado, exibida em Fique de olho nos romances da novela das nove. Quanto ao telejornalismo, fiquemos sempre atentos, porque ele pode nos contar mentiras imensas registrando apenas e criteriosamente suas pequenas verdades factuais. Entre todos, o mais representativo talvez seja Dias Gomes Era uma dor brutal.

Trabaja en la Universidad de Santiago de Chile. Se ha incorporado en los espacios privados y subjetividades. Sin embargo, pese a los esfuerzos de diversos colectivos que agrupan a organizaciones de este sector y, particularmente, de la Mesa Ciudadana y TV Digital http: El derrumbe del modelo. Con el dinero obtenido corrieron a un shopping a comprar zapatillas y gorros de visera redonda: Pero ya era tarde y no importaba. Los programas de entretenimiento son casi siempre de formato importado, con una alta dosis de erotismo para disfrutar en familia.

El plan del sistema busca imponerse sobre el carisma inmanejable. Lograron lo primero y de lo segundo debieron desistir al cabo de un tiempo pues las aparatosas pruebas implicaban mucho riesgo. Los televidentes gozan del fuego cruzado que ha arqueado las cejas de directivos y anunciantes que ya han tenido que resolver las primeras quejas puritanas.

Otro ejemplo, ligado a la pelea de las noticias con el entretenimiento: Hay otra lectura complementaria: No invoco a los chismes por gusto: En un ambiente donde los rumores sobre compras y ventas de canales son tan frecuentes que no conviene tomarlos en serio, los anuncios oficiales suelen tomarnos por sorpresa y no acaban con rumores ni sospechas, pues pueden enmascarar la presencia de empresas extranjeras impedidas por ley de ser accionistas mayoritarias de canales peruanos.

Parecen haber pasado mil temporadas desde entonces. En las regiones, el panorama es otro: Otro tema que merece estudios a profundidad y que escapa a los sondeos del rating es el de las audiencias migrantes que consumen sus teles nacionales por internet. Admirable pero preocupante poder de los anunciantes. Autor de varios textos sobre imagen. Sobre todo un esposo, padre de familia y ciudadano ocupado y curioso por dejar un mundo con una mejor imagen. Como todo padre, la junta militar y los posteriores gobiernos esperaban que Entbol fuese grande, robusta, encargada de cumplir las funciones para las que fue concebida.

Hoy se mantiene el esquema, aunque los comerciantes han diversificado sus negocios. Los pioneros, Luna de locos, La Virgen de las siete calles son algunas de las miniseries producidas a finales del siglo XX, que giraron alrededor de la productora Santa Cruz Film Producciones Safipro. Conciencia de Patria Condepa. Los que se atreven a hacerlo, tienen dificultades para sostener esta medicina que tiene mal sabor social.

La credibilidad general de los medios [ ha bajado a pesar de que su visibilidad haya subido. Lo que revela, por otro lado, la madurez de la sociedad para criticar y consumir medios. Luego, mucho de lo llamado comunitario no lo es. Sin duda que este es un tipo de tele comunitaria con fundamento de fe. EL concepto de lo nacional tiene sus bemoles.

La realidad ha sido muy distinta. Dado el limbo legal de los incautados. El gran punto pendiente es la necesaria independencia editorial de este canal, lo cual parte desde su misma estructura legal. Ecuador es un interesante experimento que ha desembocado en lo peor de los dos mundos. Frente a ello, lo comunitario es un mito. El caso de Tele Sangay lo demuestra. Quito, noviembre 20, [ Postexto elaborado por el editor de este libro: Somos telenovelas, ahora narco. Esto significa que los colombianos sabemos que una marca de nuestra cultura son las telenovelas.

Las telenovelas colombianas son famosas, porque en ellas habita la diversidad: Esto significa producir telenovelas divertidas, urbanas y atrevidas. Este boom ha llevado a que las grandes cadenas de Estados Unidos hayan comprado a productoras locales: En estas alianzas hay tres modelos: Y las respuestas son las mismas: Y yo me distraje.

La escuela audiovisual infantil que tiene blog http: La pasan bien, se divierten y alejan los miedos de la guerra. Trabajan grabando matrimonios, bautizos y primeras comuniones y produciendo videos por encargo de las ongs de derechos humanos, medio ambiente y cultura de paz. Ministerio de Cultura, Licenciado en Letras en la Universidad Central de Venezuela.

Sus libros han sido traducidos a varios idiomas. Es ganador del Premio Herralde editorial Anagrama de novela con La enfermedad. Lentamente ha ido construyendo un monopolio oficial. El instrumento fundamental para esto es una ley de contenidos, que se presta para todo y resulta muy discresional, que gravita como una amenaza sobre los canales privados. En ese sentido, su independencia y diversidad tiene un gran enemigo: No soy muy especialista en el tema.

Eso da un poco la idea del nivel en que estamos Los programas que acaparan la mayor audiencia son aquellos elaborados con temas nacionales como los deportivos, los noticieros y los de entretenimiento, algunos de los cuales son franquicias de formatos extranjeros, adaptados a la idiosincrasia costarricense. En cuanto al entretenimiento, los programas musicales y de concursos son los preferidos. A todo dar y Combate. Guillermo Rothschuh Villanueva agateyte7 yahoo. Merecedor de valiosos reconocimientos, entre las que se destacan: A Literature of Their Own, London: Popular Culture and the Future of Feminism, London: Will Write For Shoes: The term carefully links issues of race, politics, reading and writing.

The term thus carefully links issues of race, politics, reading and writing. Not much is known about the author—the reverse side of her book states only that she was born in Algeria and lives in Paris. The novel was translated into English by Judith Still and published under the title Lallia in For this reason, the translations I provided here are my own. Le Cow-boy is told in a mixture of first and third-person voices and describes the anguishes and difficulties of an Algerian girl confronted with racism, class tensions and the cruelties of war.

Their young love does not end with their double suicide, however, but is doomed by the madness of the war around them, the loyalties mandated by their families and the multiple factions of the armed nationalist movement. The youthful voice of the protagonist describes her tumultuous childhood in exuberant run-on sentences in the present tense, rupturing the narrative with flashbacks and abrupt scene changes. This unhappy family situation supplies the tenor NOTES of the novel and inspires Lallia to seek friendship and love outside the home.

It is widely contested by historians since a heightened level of urban violence preceded and followed this 1. Hence the designation is considered arbitrary. Examples of high The Algerian National Liberation Front FLN declared war against profile terrorist attacks that France on November 1, but the independence struggle did not preceded the Battle of Algiers reach its climax for two more years.

Raging on for eight years the include the widespread guerrilla attacks following the Algerian Revolution took the form of a kind of guerrilla warfare in the execution of Ahmed Zabane rough wilderness of the countryside. Battle of Algiers marked a grave moral crisis for France and exposed its widespread use of torture against suspects. Disguised as the sole party of the populist struggle, the FLN disseminated its version of events through the nationalist newspaper, El Moudjahid.

On the same day, the GPRA arrived in Algiers with its new leader, Ben Youssef Ben Khedda, who had recently replaced Ferhat Abbas, to a massive out-pouring of support and celebration in the streets of the capital. Nonetheless, the majority of French settlers fled the country and went to France after independence. For many of them—who had lived in Algeria for generations—this was the first time they had set foot in France.

This did not bring an immediate end to the fighting, however, and opposition movements continued in Kabylia and Algiers. On August 30, the ALN political bureau gave bureau troops permission to descend on Algiers, where violent skirmishes left more than a thousand people dead. In September an agreement was finally reached which made Algiers a demilitarized zone and it was placed under the purview of the political bureau.

Despite this agreement, Colonel Boumediene ordered the army to enter and occupy the capital. Following this, Ahmed Ben Bella was installed as the head of government. As sociologist Abdelkader Djeghloul notes: In this respect, an outline of the major events of the war is helpful. I especially want to highlight the political confusion of the Algerian war and the extreme polarization that occurred as the violence increased; and the strife among different factions of the liberation struggle and within the FLN itself, essentially erased or mythologized in the official history that was developed by the Algerian regime although this is slowing unravelling.

It is useful to draw attention to these facts in order to situate the critique which subtends the novel examined in the following sections of my paper. At the annual pageant the school children wear costumes for a play at the town hall. Lallia, the smallest girl in her class, is a daisy.

Admiring her costume in a mirror before the performance she notices a blonde head in the reflection. As she turns to catch the person watching her, she spots the brim of a hat disappearing behind a column. A boy is smiling at her: She asks if he is chasing robbers: Borrowed from American popular culture, the cowboy is a widely-recognized romantic symbol of the colonial settler.

In the US context, the cowboy and the Wild West are icons in an intricate mythology constructed around the experience of westward expansion at the turn of the nineteenth century. The western, in this view, is fundamentally a nostalgic genre seeking to preserve conservative values increasingly eroded by changes related to industrialization and the rise of the city Cawelti, Appropriating the figure of the cowboy and the construct of the Wild West—removing them from their familiar context of American popular culture—Lachmet sets out to expose the absurdities of the colonial enterprise and allude to its eventual demise, considering that the cowboy is always a supremely nostalgic figure.

Shortly after her family moves to a new neighbourhood, Lallia notices a couple of children next door and makes friends with the boy, Yves. They choose a daisy: Tu ne pouvais pas trouver quelque chose de mieux? That was you, the daisy? The two become fast friends: When they get angry at one another, Yves settles their fights] ibid. Je suis triste parce que je ne te vois pas, tu es encore reparti.

He tells me you have a girlfriend during your travels. In chapter five, the narrator reverts back to the first-person voice, marking the end of the summer holidays and the return of the Cowboy. One day he is waiting for her after school to give her a gift. Opening the package, she finds a circular box painted with a picture of a cowboy holding a daisy between his teeth; and inside the painted box are two red hearts wrapped in cotton wool. At the bottom of the box is a piece of paper folded up many times.

Unfolding the paper, she uncovers a small drawing of a daisy: As for him, you would think he did it for a joke. I run off to join Rida, leaving my treasure there, open, under the tree] Lallia tells her friend Rida about the gift and asks her what she should do. Rida replies that she must give the Cowboy a kiss. I lean against the tree, not daring to stir.

Then he clasps the trunk with both his arms, I am a prisoner. His face is so close that I hold my breath. He is still breathing very hard, because of the battle. He squeezes me against the oak and kisses me. The western dramatizes and affirms masculine values by making the struggles of the heroic male protagonist on the frontier a narrative focus. While the cowboy symbolizes American values of individual male competition, aggression, and separation from community and family; the woman in the cowboy-western represents the values of the mythic past that centre on family, home and community Cawelti, In the context of colonial Algeria, on the cusp of war, this American mythology finds itself destabilized by the self-conscious love of two children—a cowboy and his daisy— performing Wild West gender roles.

Lachmet thus asks us implicitly to approach the text as a possible site of resistance—where notions of authenticity are challenged. A Semiotic Approach to Literature and Art The theory took the work of Russian Mikhail Bakhtin as its inspiration since Bakhtin was interested in crafting an innovative approach to notions of the text perpetuated by early-twentieth- century Russian Formalists.

In his engagement with and critique of these writers, he viewed the text as a social construct that provides a site for the dialogic encounter between a text and its reader. As a result, he maintained that textual meaning is malleable while context is vital in our understanding of society, literature and language see Bahktin and Medvedev, Like Kristeva, Barthes was interested in undermining notions of stable meaning and, hence, the foundations of structuralism.

Another facet of his vision was the indistinguishable activity of the writer and the critic, the author and the reader. The productivity between author, text and reader illustrates the innately social nature of the textual enterprise, its dialogism. Genette introduced the concept of the Greek palimpsest—a manuscript page, scroll or book that has been written on, scraped off and written on again to produce textual strata. Like his contemporary Homi Bhabha, Khatibi is interested in the cultural specificity of the intertext which, in his view, has been mostly overlooked see Dobie, This plurality is viewed by Khatibi as a source of vitality and so to deny it is destructive to the society in his view.

Hence, the intertext is always unfinished and in the process of becoming. Calling for an acceptance of the other within, Khatibi claims that we might finally move towards a more truthful approach to the idea of identity. This acceptance would be based on an understanding of our innate heterogeneity and would require a rejection of identity constructs that rely on comparisons of self versus other or East versus West. Residing in the gap between cultures and languages, he argues that the Maghrebi author must constantly destabilize meaning and deconstruct unitary ideas through the social text.

While there is a reactionary potential in a separatist search for a unitary and naturalized identity, a feminist politics of solidarity can protect us from this danger. Lionnet argues that when there is a constant and balanced form of interaction, reciprocal relations tend to prevent the ossification of culture and encourage systematic change and exchange.

Lallia has nearly forgotten about the Cowboy who disappeared before she had so many troubles at school. Il me fait un grand signe de la main et continue son chemin. He passes by with a wave, like he never left, like he had seen me the day before. Il ouvre les bras et me prend contre lui. The wheels continue to turn on their own. He opens his arms and holds me close. We stay like that for a long time, listening to our hearts beat and feeling our warm bodies] ibid.

The two children bike to the water tower together. As they ride through the town, Lallia sees the new legions of French troops. Curious, Lallia asks who the fellagha are. This is news to Lallia. That evening, she innocently asks her father to explain who the fellagha are ibid. Lallia still does not understand why they are called fellagha.

They want freedom] She continues to press her father: That means those who block? In response, her father forbids her to ask anymore questions and orders to stay at home when she is not at school ibid. She is surprised by his anger: He tells her that the other boys want to beat her up because she hangs out with French boys too much: He was with his gang. We massacred them, it was us who won] Rachid asks which side Lallia is on: Lallia promises that she is with them. This reading is reinforced by a passage in the novel in which Lallia comes upon Rachid, who is on his way to visit the mother of a classmate who was killed: Since he was an Arab, he played the fellagha.

People say that they drowned him on purpose. When they pulled him from the water his body bore traces of the stones that the others had thrown before escaping] The children are killing each other while playing at cowboys and Indians in a make-believe Wild West with brutal consequences. The plotline of forbidden love—albeit an awkward love between children—thus provides another foreign intertext to consider.

By reconfiguring a well-known Shakespearean tragedy Lachmet transforms its meaning; subtracting key characters and embellishing others of lesser consequence or adding characters not at all present in the original text. However, we might read the feuding Capulet and Montegue families in a more general sense—as represented by the warring parties of the Algerian Revolution.

Lallia sees the Cowboy once more towards the end of the novel on the day she finds the butcher murdered in the market square. Leaving the house early one morning to get milk, she discovers she has made a mistake about the time. All the stores are still closed. Retracing her steps to return home, she sees a body in the middle of the church square: Blood mixed with a white substance that I refuse to name. The body was that of the butcher who I know well] Standing frozen to the spot, Lallia contemplates the body.

While the town awakens and gathers around her to look, she imagines she is all alone and invisible: No one sees me. I am transformed into an invisible statue, one hour, maybe more] ibid. Suddenly, someone takes her arm. I am thinking of this spectacle] ibid. As quickly as he appears beside her, he disappears, running off down the street with Rachid and another boy in close pursuit.

Returning home, Lallia goes to bed and comes down with a temperature. She is overcome with nightmares. His family has left and all the roses are dead: He will never come back] She walks to the old disused factory where they used to meet. She calls his name at the top of her voice and the empty building answers her with echoes. Walking along the railway tracks on the way home, she hopes she will have an accident. At home again, she sprays herself with the hose and lays down on the terrasse: I do not think the Cowboy is an enemy, he is just the son of others] She begins to lose her mind: I believe that birds talk to me and I answer.

Lying on my stomach, chin in my hands, I tell them stories. They cross the sky with sharp cries and I no longer feel alone] ibid. Going downstairs, she smells coffee and sees her parents calmly sitting in the courtyard eating cakes dipped in the best honey. Their bourgeois routine continues while outside the tenuous safety of the home, the world is chaos and death. The novel whirls from one tragedy to the next as it winds to a feverish close. Lallia flees to the Algiers Casbah to live with a moudjahida and militate in a cell of moudjahidine, avoiding an arranged marriage.

While she is away her father dies of an undisclosed illness and her mother buries him before she can come home. When the Revolution ends all the men in their village are dead and the women must figure out a way to proceed in this new world. Lallia, however, is unable to move on and eventually goes mad and is institutionalized. The result is a hybrid assemblage that defies a smooth reading; thus remaining unstable and unresolved. Determining Shakespearean tragedy and the American western as her palimpsest, Lachmet confounds literary and cultural foundations with references to romanticism and the macho cowboy, which are problematized in turn by the outspoken and precocious presence of her young heroine.

As a form of life-writing, Le Cow-boy bears witness to the realities of a violent anti-colonial struggle—as seen through the eyes of a child. The Formal Method in Literary Scholarship: A Post- Structuralist Reader, London: Mystery, Violence and Popular Culture: Le Discours antillais, Paris: Race, Gender, Self-portraiture, Ithaca: Season of Migration to the North, trans.

A short history, Ithaca: Abstract This article addresses the borders of the complex television sign through the analysis of the Argentinean 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. El programa argentino, Peter Capusotto y sus videos. Es importante resaltar que el ejercicio de este poder se realiza o se consigue mediante represiones, negociaciones, concesiones, etc.

En primer Argentina fue marca por frecuentes cambios de lugar, puede ser entendido como un objeto de consumo masivo. Las reminiscencias al oscuro correspondiente a Bombita.

zapping tv - Bibliothek der Friedrich-Ebert

La dulzura de tus ojos tu mirada, tu candor la sonrisa, la ternura de tu voz. Tu palabra es el ejemplo es el remanso del amor ella borra mi tristeza, mi dolor. En el primer grupo encontramos a la madre, la esposa fiel, la virgen. En el otro grupo, la prostituta, la femme fatale. La parodia es evidente. Se lo juzga de banalizar la historia oscura de Argentina.

En ese contexto efervescente la presencia del personaje Bombita contrasta significativamente. Sin embargo, los ejemplos dados son evidencias de los intersticios que encuentra el arte para destejer la urdiembre que nos atan a intereses opresores. Estudios culturales I, Barcelona: Un vocabulario de la cultura y la sociedad, trad. As Matthew Henry Wearing her black pointy hat, buckle shoes, black dress, striped notes, The Simpsons now socks, and a cape, while carrying the prerequisite wand, both the holds the record as both the audience and her friend immediately recognize her as being dressed longest-running animated primetime program and sitcom as a witch.

Her friend has always had a crush on her, and he attempts in American television history to impress her by complimenting her outfit: Why is it that when a woman a quarter of Americans can is confident and powerful, they call her a witch? As an animated series, the series has always been allowed to take liberties and play with the conventions of a sitcom in order to make its pointed comments concerning modern culture.

The female characters accused of witchcraft or presented as witches not only comment on how the witch is constructed in modern popular culture, but also how issues of gender roles and expectations complicate that construction. Yet, the series also comments on the gender implications of 2 Note that this slight against that image. For that very reason, it is a good place to begin this analysis, as it portrays the witch according to her most popular construction and presents a theory of the gender question that is also widely-held.

The segment opens with Springfield holding a Halloween costume contest. In the crowd, Lisa can be seen dressed as Albert Einstein, Dr. Hibbard as Dracula, Ned Flanders as a flower, and, most notably, little Maggie as a witch whose costume is only clear from her pointy black hat; otherwise, she is dressed in her traditional blue nightgown. However, when asked her identity, she is forced to admit that she is not wearing a costume, saying: Instantaneously, Marge becomes a skeleton, Bart a wolf man, and Grandpa Abe a gorilla.

As most in the town are distressed by this turn of events, Lisa as Einstein sets out to find a solution. Unfortunately, Maggie has no interest, or understanding, of the real issue at hand, and instead turns everyone into a pacifier—her true desire. She lives alone and is always depicted with at least one cat attached to her body. A freeze-frame of the This is the only episode in which her true name is used. As John Sharpe notes in his Instruments of Darkness: Witchcraft in Early Modern England, the notion of the familiar is perhaps one of the most identifiable characteristics associated with the witch.

This familiar, usually in the form of a toad, cat, or dog, was assumed to be a demonic spirit, capable of performing maleficium on behalf of the witch However, it was believed that the familiar was only willing to conduct the maleficium in exchange for human food— sometimes in the form of animals such as chickens, but more often in the form of human blood. Her age becomes a factor as she has probably outlived her husband, if she had ever married to begin with, and is now unable to support herself financially.

Sharpe also states that the NOTES accused does not attend church regularly and is often heard scolding or cursing her neighbors While official sources put out by is a threat. With a given age of 78 and having lived as a Simpson. By the age of thirty-two she had bonded with her first cat, in a downward spiral of mental illness, to never find a male companion. Most of what she says is unintelligible, and, yet, the few words that are clear are always curses5. The vignette parodies the Salem witch trials; however, the motivations for the accusations and the construction of the witches themselves overlap with their Early Modern English counterparts.

It begins with three women tied to stakes, surrounded by townspeople holding torches. Again, while the 6 While it is important to three women here are dressed in American Colonial attire, their refrain from conflating witch trials and the image of the conventional characteristics speak to how the image of the witch is witch from two different eras constructed, both in the Early Modern and modern popular culture6. As Wiesner explains, sexual intercourse was viewed as a means to produce children, not as a source of pleasure While most of the townsfolk are eager for the burning of the witches to begin, two female characters question the events.

Yet, The Simpsons presents women as having a more active role in the accusations, mirroring more closely the argument put forth by Diane Purkiss in The Witch in History: Early Modern and Twentieth-Century Representations. While the most common test would be the water-ordeal, this episode takes the test to an even further extreme. To complete this image of her as a witch, she also is seen with familiars, although hers are the bats that inhabit her hair. Two of these examples can be directly seen in pamphlets documenting the witch trials of the Early Modern period.

For example, in Witches at Chelmsford from July of , Mother Waterhouse confesses to having cows drowned and spoiling butter Rosen, Marge joins her sisters Selma and Patty in the forest, and it is clear that black magic runs in the family. This reference to Macbeth permanently links the three Bouvier sisters with the Weird Sisters, or witches, of Shakespeare7. While Macbeth and The Simpsons will be further explored below, the placement of Selma and Patty as witches is vital to this discussion. With their hyper-masculine voices, refusal to shave their legs, and manly features, the sisters on physicality alone fit the stereotype of the witch as outside gender expectations.

They are also perceived as a neighborly nuisance, especially by Homer. Smithers , she is the only recurring openly gay character on the show. While this episode comments extensively and with complexity on both same-sex marriage and homosexuality, it is important for this discussion that Patty has chosen to live a life without a man. Selma, on the other hand, has been divorced twice. While living without a man also links her to the image of the witch, it is her desire for motherhood that complicates the image.

Willis points out that the accused witch is usually postmenopausal, and therefore unable to have a human child of her own. For, after viewing in the cauldron a discussion between Ned Flanders and his wife Maude, the three sisters devise a plan to eat the children of the town, since that is what the couple most feared.

Although they later decide that scaring neighbors into giving them treats is not only more fun but tastier than eating human children, it is revealed that the Flanders home was not their first stop—and that many children in the town had already perished at the hands of the witches. As this is a full-length episode, as opposed to the vignettes seen in the Halloween episodes, there is a subplot, which at times seems tangential to the witchcraft theme, but in typical The Simpsons fashion, neatly converges with the main plot in the end.

While Homer becomes involved in a moonshine enterprise, Lisa plays hide and seek with two of the Spuckler children. Unfortunately, the two children cannot count to one hundred, and Lisa is left hiding in the forest well into the night. She happens upon three cloaked young women conducting a chant over a boiling cauldron, and, while at first frightened, eventually becomes intrigued by their Wiccan beliefs8.

Once their cloaks are removed, the women are revealed to be average-looking teenagers, although with lots of black eyeliner and pink-dyed hair. This episode, therefore, becomes the first in which the physical image of the witch is challenged. While some of these elements define the differences between witchcraft and Wicca, the episode highlights the overlap, mirroring the theory that witch-hunting may have originated in the attempt to eliminate pagan practices.

However, he then proclaims that she is too young to be a witch—that certain steps must be followed: And, yet, even in the midst of questioning 9 After an exhaustive journey this construction, Lisa—often portrayed as the enlightened one— through world religions, Lisa converted to Buddhism in a gleefully plays with this traditional configuration.

She dons a cape, episode. Hence, by this point of the episode, The Simpsons has challenged many of the conventions surrounding the construction of the witch—a construction which it has reinforced over the last two decades. The episode proposes that she may not be elderly, ugly, or demonic. And, yet, we as a society also cannot seem to move away from these notions.

For it is in the very next scene in which fear and mob mentality yet again overrule reason. As Lisa is in the midst of being accepted into the coven, in a scene heavily reminiscent of the initiation scene in The Craft , the three young witches are arrested. Again, because of the ways in which they resemble the stereotype of the witch, the reporter assumes they are the ones on trial or at least the victims of some hideous spell. Hence, before the commencement of the trial, the three girls cast a spell to make their persecutors blind, and immediately, characters are shown losing their sight, thereby convincing the town of the validity of the accusations.

However, the townspeople still want justice, and, becoming an angry, torch-carrying mob, again led by Moe, they decide to implement 17th century law—the trial by water. Note that the contraption is designed to ensure that in both cases the accused woman is removed as a problem, either by being found guilty or through death.

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Luckily, Lisa solves the mystery just in time, proving that the townspeople had been temporarily blinded by the moonshine her father had dumped into the reservoir. While Marge may merely be concerned that her daughter 10 A case can definitely be finds a boy to marry, and therefore conform to heteronormative made for the overwhelming influence of The Wizard of Oz gender roles, Lisa is attempting to assert agency apart from these as well.

However, much expectations in conjunction with finding acceptance. With the exception 4. The character of Sideshow Bob Shakespeare. However, Macbeth in particular has been referenced often in the series. Homer has been assigned a small role in the play, as one of the trees, and as an understudy to Sideshow Mel, who has been given the role of Macbeth. However, Marge has greater ambitions for both herself and her husband, and devises a plan to have Homer murder Mel. Yet, once Homer is given the part of Macbeth, theater reviewers still offer more praise for the other actors—first, importantly, being Dr.

Marge insists that he kill every other actor in turn, so that he—and by extension she—can garner praise and respect. In terms of an analysis of the witch, a curious moment occurs here. As the reader probably knows, the characters of the Simpsons clan all have yellow skin. When Marge sees these phantasms, they emit a blue- ish hue across the stage, representing their translucency. While the exploration of the parody of Macbeth would be interesting for analysis, it ultimately would not add insight to this particular discussion.

As mentioned earlier, the Weird Sisters of Macbeth greatly influence the popular modern notion of the witch. It is they who hover over a bubbling cauldron, chanting and creating potions 4. Admittedly, there is much ambiguity concerning the witches. Thus, it has been implied that they are liminal figures. Yet, their ambiguity is at least clarified by the fact that they are physical embodiments of witches. In contrast, there is no more liminal figure in Macbeth than Lady Macbeth—and the same can be claimed of Marge Simpson in The Simpsons.

Many have linked the ambiguity of the witch figures to Lady Macbeth. Yet, she can clearly not be claimed as a man. Instead, she exists in a liminal space in-between the two genders, partaking of both and yet being of neither. As a married mother of three, working in the domestic sphere, Marge adheres to traditional gender role expectations. Yet, as someone who came of age during the second wave of feminism, she also challenges those expectations Henry cites her liberation in contemplating an affair, her ability to excel as a police officer, and her insistence that Homer help out more with household duties.

However, he also notes that whenever Marge steps out of the traditional female role, although questions might be raised regarding that role, each episode ends with Marge returning to the domestic sphere. On the one hand, American women of the 21st-century are encouraged to enter into the public sphere and embody feminist ideals; on the other hand, feminism has become a dirty word and women are still expected to be in control of the household.

Therefore, when the viewer witnesses Marge Simpson portraying the figure of Lady Macbeth, a plethora of conflicting but contemporaneous reactions occur. We can count both of these fictional ladies as liminal, but see that they are constrained by ideas of gender from different time periods. And, if Marge as Lady Macbeth is also portrayed as a witch, then the impact of gender on the modern construction of the witch is still as essential as it was in the Early Modern construction. Why is it that when a woman is confident and powerful, they call her a witch?

As seen in this discussion, there are many proposed answers to this question in regards to how the witch was constructed for the Early Modern period. These theories range from socio-economic status to anxieties concerning motherhood and from gender role expectations to notions of identity and agency. Estranging the Renaissance, Baltimore: Shakespeare after All, New York: The Witch in History: Early Modern and Twentieth-century Representations, London: Witchcraft in Early Modern England, Philadelphia: University of Pennsylvania Press Various authors Witchcraft in England, , ed.

Abstract Arabic medieval literature possesses the singularity of having elaborated an impressive theory on intertextuality and the limits of poetic imitation and appropriation. In this context, Arabic theoreticians considered simultaneously and paradoxically plagiarism sariqa as a violation of literary rules and one among other legitimate rhetorical resources for poets. At present, it has not been accounted for their possible ascendant in the construction of medieval poetics of Christianity, though, in the light of certain evidences, a tangential or implicit influence may not be rejected.

For this reason, the study of the authors from al-Andalus, and from other border territories, acquires a great interest, as privileged sceneries of these textual intercourses. Key-words Intertextuality plagiarism influence imitation medieval literature al-Andalus. Aunque la frecuencia con la que se repiten me longe faciat Dominus! Quos certe magis in hoc pronunciadas por Teodoreto y otros Padres de la Iglesia varios siglos quantulo-cunque opusculo antes.

Para este autor, el plagio al-sariqa [al-adabiyya]: La recompensa, sin embargo, es grande. Mientras que los elementos pertenecientes al primero —i. Estas coordenadas explican que bajo un aparente acuerdo en los fines y los medios de la buena literatura, las querellas fueran tan constantes y extensas. Hence the cultural y plagio cuando recuerda que: Se multiplican los nombres de autores y de obras, que comienzan a ganar en estabilidad y autoridad textual, mientras que las traducciones, a partir del siglo XII Vernet, Histoire critique de la philologie, Paris: European Literature and the Latin Middle Ages [], trad.

The Post- Italianate Edition. A Shandean Postscript, Chicago, London: The Making of a Tradition, Cambridge: Authorship, Profit and Power, Toronto: Dos cancioneiros medievais galego-portugueses, Vigo: Abstract 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.

A plein soleil y The talented Mr. En cualquier caso, es evidente que en el conjunto de su Su modo de , aunque la autora hizo trabajar con ese universo: La habilidad de la escritora reside en poner al lector de parte de estas criaturas, aun cuando los actos que cometen son, en muchas ocasiones, moralmente cuestionables. Los ayuda, en este sentido, su aspecto encantador y la capacidad de hechizar a quienes los rodean. Esto no significa que triunfe el mal. En el ya citado Suspense. Yo nunca tuve instintos asesinos.

De entonces conviene dar al lector uno o dos personajes secundarios hecho Bruno muere ahogado. A menudo se habla de los cineastas que, en Hollywood, deforman la obra original. Cuando la idea me sirve de base, la adopto, olvido por completo el libro y hago cine. La referencia a Dostoievski es clara en este sentido: Hay un respeto, casi reverencia, hacia la literatura seria representada por autores como el ruso: Se manipula el asunto […], el autor se diluye en segundo plano. El resultado final as much as possible. I was 27 and had nothing behind me. Once You to be close to them.

Esta se abre con varios planos alternados en los que vemos dos pares de pies que siguen un movimiento similar: Los sobrios zapatos negros de uno de los personajes contrastan con los zapatos vistosos y coloridos del otro. El estilo de la autora se adhiere Volvemos, en este punto, al de una tupida identidad a ejemplo citado al comienzo: Highstmih y Alfred Hitchcock? De este modo —Pues, no. Cualquier persona es capaz 14 Aunque Hitchcock hubiera preferido a otro actor, la de asesinar.

BRUNO dando un golpe sobre la mesa: Como su mujer y mi padre, por ejemplo. Guy inclina la cabeza. Este cambio facilita que Bruno lo reconozca en el tren y sepa de antemano los detalles de su vida sentimental, difundidos en la prensa. Baste citar el pasaje siguiente: Son para ti, Guy. Izaguirre afirma lo contrario: Son los novios de la noche, la imagen criminal de lo gay […] Izaguirre, Es aquella que tiene entre inocencia y culpabilidad: Luego de este altercado, se desmaya y Guy se queda pensativo.

Te van a dar una noticia, Guy. Como no le responde, se va. Guy sabe que si llama a puerta: No le di importancia. Desde la primera noche. La apariencia del joven no a mencionarla: Disentimos con estas interpretaciones. Hitchcock coquetea con el intercambio de figuras, pero el Bueno y el Malo tienen sus roles asignados y, al final, cada uno ocupa el sitio que le corresponde. Cuando el fiscal pregunta a Gerard, investigador de la vida.

Matar a Bruno es vida. La gente hablaba del misterio del nacer, del principio acaso un ardid de parte de la escritora para no exponerlo a la Ley: La muerte con apretar el cuello de una del asesino es a todas luces un acto de justicia, mientras que el chica para que su vida se interrumpiera?

Todo vuelve a estar en su sitio: La finalidad de su literatura no es la de tranquilizar embargo, la brutalidad debe estar en el bando bueno. Los conciencias, sino movilizarlas, sacarlas de sus lugares habituales La parada de los monstruos, Barcelona: El armario secreto de Hitchcock, Madrid: El cine negro de RKO.

De la literatura al cine. Ritos de pasaje, Buenos Aires: Furthermore, the paper will shed some light on the issue of hyperreality which is generated by simulations. We will see how this new type of reality becomes more real than reality itself. Then, the influence of the supermarket and the emergence of consumer culture will be discussed. This novel can simply be described as a postmodern critique of contemporary American life. The novel skillfully tackles the major aspects of postmodern life; it depicts the electronic and technological effects on the meaning of everyday life in the postmodern age.

It also sheds light on TV as an essential icon of this era. People are shown to be living their lives, behaving, believing and disbelieving according to TV. To begin with, TV, as shown in the novel, is one of the most influential technological devices in contemporary life. It plays a tremendous role in the life of individuals, to the extent that it has changed the criteria of reality and truth. TV has become the new reality—or more real than reality itself.

It fills the world of the novel with its buzzes and fragments and it pops up every now and then to interrupt the actions of the novel. TV seems to control all people; they believe nothing but TV. You have to learn how to look. You have to open yourself to the data. TV offers incredible amounts of psychic data.

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