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Copyright of Revista de Historia (07169108) is the property of Universidad de Concepcion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arenal.Revista de Historia de las Mujeres is the property of Arenal. Revista de Historia de las Mujeres and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Este artículo describe una de las producciones originadas en el marco de las prácticas de investigación clandestinas desarrolladas en el campo de la teoría y la crítica literarias en Argentina durante la última dictadura (1976-1983): la revista Lecturas críticas. La publicación estuvo ligada a la “universidad de las catacumbas”, formación que ejerció la resistencia a través de la actualización, la traducción, la discusión y la producción teórica y crítica. En primer lugar, se caracterizan los temas, autores e interrogantes transitados por la revista; paralelamente se describen las operaciones de lectura desplegadas y promovidas. Finalmente, se puntean algunas de sus derivas en las prácticas de investigación y de enseñanza universitarias de la democracia. Abstract This article describes one of the productions originated in the context of the clandestine activities engagement in the field of literary theory and criticism in Argentina during the 1976-1983 military dictatorship: the journal Lecturas críticas. The publication was linked to “university of the catacombs”. This formation constitute kernels of resistance through upgrade, translation activities, debate and the production in literary theory and criticism. First, one characterizes the topics, the authors and the questions of the journal; in parallel one describes the operations of reading developed and promoted. Finally on focuses in their derives in research and university teaching practices in democracy.

Copyright of Anagnórisis: Revista de Investigación Teatral is the property of Anagnorisis: Revista de Investigacion Teatral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Un estudio sobre la relación entre música y clandestinidad durante la más reciente dictadura en Chile es expuesto aquí en el despliegue de tres ámbitos disímiles, pero que coinciden en su exploración sobre los modos en que la música de resistencia se desenvuelve en su particular situación histórica. En primera instancia, se aborda la relación conflictiva entre el aparato estatal y la oposición, en que se destacan la represión y la censura sobre las músicas desde un prisma que enfatiza las experiencias de prohibición y persecución. Así, se desarrolla una interpretación acerca de la clandestinidad del ejercicio represivo. En segundo lugar, se observa una particular dinámica de tránsito entre lo privado y lo público por parte de los agentes de la resistencia, examinándose grados heterogéneos de exposición y de ocultamiento. Finalmente se releva la producción de grabaciones clandestinas, cuyo compromiso militante es substancial. Se enfatiza aquí el rol decisivo que cumple el casete, pues la circulación de cintas copiadas se erige como un bastión cultural de la resistencia. Aunque este esquema tripartito ofrece una coherencia particular a cada apartado, la articulación de su conjunto permite una primera comprensión abarcadora de la compleja relación entre la música y la clandestinidad en dictadura.This is a study about the relationship between music and "clandestinidad" during the time of the most recent dictatorship in Chile. This topic is explored in three dissimilar areas, which converge toward the consideration of the ways in wich the music representing the resistance to the dictatorial system developed in this particular historical situation. First of all, the conflicting relationship between the state apparatus and the opposition is discussed, with a special emphasis upon repression and censorship of the musics of resistance from a standpoint emphasizing the experience of prohibition and persecution. Thus, an interpretation of the clandestine repressive actions is put forward. Secondly the specifíc dynamics of transiting between what is private and what is public is examined, particularly as it relates to the heterogeneous degrees of exposure and hiding of the members of resistance. Finally the production of clandestine recordings containing material of a clear militant commitment is discussed. The key role of the cassette production is underlined, as the copy and circulation of cassettes became a cultural stronghold of resistance. Each area of this tripartite model presents an inner coherence of its own. Nevertheless the overall consideration of these thee areas serves as the basis of a fírst all encompassing view of the complex relationship between music and "clandestinidad" during the time of dictatorship.

El siguiente texto pretende dar cuenta de los lugares por los que se desplazaron las cuecas como representaciones estético-políticas de chilenidad durante el período de la dictadura militar, más específicamente en Santiago entre 1979 y 1989. Es desde allí donde se establece un derrotero autoritario que, a través de múltiples mecanismos, dispone una fusión forzosa entre determinado "tipo" de hacer-cueca y las prolongaciones "cultural'-identitarias de las que el régimen se apropia. La cueca, en tanto dispositivo político de determinada oficialidad y las cuecas como formas particulares que se exceden de sus ordenamientos son las que pretenden ser aquí visitadas: cueca sola, cuecas de barrios populares (también nombradas brava y chora), adicionada a cuecas decididamente militantes de la resistencia, se disponen como actos y realidades que pugnan y plurifícan el acto de cuequear.The following article has the purpose of analysing the various meanings of the cuecas as aesthetic and political representations of chilenidad during the period of the military dictatorship, more specifícally in Santiago between 1979 and 1989. It was then that an authoritarian procedure was created which by means of múltiple mechanisms imposed the mingling between a certain type of cueca making and the cultural identity ofthe cueca assumed by the military government as part of its communication policies. This article considers the cueca both as an instrument of the political establistment and as particular species reaching beyond its traditional signifícance, ie, the "cueca sola" (cueca danced by one person), cuecas of poor neighborhoods, also known as "brava" and "chora", and cuecas which are definitely part of the Resistance. All of them are considered as acts and realities interacting within a pluralistic space created by the process of cueca-making.

Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Politica y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)