The economic and cultural impact of the four films forming the saga of The Avengers from 2012 to ... more The economic and cultural impact of the four films forming the saga of The Avengers from 2012 to 2019 stands for the impressive accumulation of superhero fiction in the twenty-first century, with a remarkable resituation of the topic of war conflict into the popular imagination quite affected by the traumatic beginning of the era in the New York scenario on 9/11. This article intends to analyze the different plot elements in The Avengers (2012), The Avengers. Age of Ultron ( ), The Avengers. Infinity War (2018), and The Avengers. Endgame (2019) to find clues to explain how the Marvel Cinematic Universe accomplishes a complex exploration of the nature of war, and how the films offer new ways of deconstructing simplistic Manichean polarization between good vs. evil. With this objective in mind, the study pays attention to how this deconstruction also needs to concentrate on the decomposition of stereotypes related to identity politics.
It seems that a great part of postmodern fiction is a rewriting of well-known texts belonging to ... more It seems that a great part of postmodern fiction is a rewriting of well-known texts belonging to the bulk of Western tradition, and it also seems that this corresponds to a general shift in the arts occurred by the nineteen-sixties, related to a thorough questioning of two modernist premises: the rejection of mimesis as informing the work of art, and the elevation of formalist ideals to primary aesthetic principies. Literature after the sixties turned back to representationality, but it did not produce the kind of mimesis praised and practised by nineteenth-century Realism. Certainly, it was not an innocent return because it possessed a revolutionary component, in the sense that now the objects to be represented already existed as represented objects and the reader was made aware of that confusion between projection and the real object. Literature, as well as other products meant for cultural consumption, stopped being concerned with inventing new stories, new characters, new plots, and began to pay attention to the way in which the world projected by other narratives was constructed. 1 This shift of interest brought about a tendency to quote, to paraphrase, or to rework previous styles or works, and, as a consequence, writers got into the habit of creating complex texts in which the conventions of different genres collapse, in which the discourses of theory and practise are juxtaposed, and the opposition between high and popular dissolves. The result was the appearance of literary works which were, on the one hand, self-reflexive and metafictional in form, and, historically grounded, on the other, since this revisitation of already written texts was concerned with an ironic, parodie and critica! revision of the past.
It seems that a great part of postmodern fiction is a rewriting of well-known texts belonging to ... more It seems that a great part of postmodern fiction is a rewriting of well-known texts belonging to the bulk of Western tradition, and it also seems that this corresponds to a general shift in the arts occurred by the nineteen-sixties, related to a thorough questioning of two modernist premises: the rejection of mimesis as informing the work of art, and the elevation of formalist ideals to primary aesthetic principies. Literature after the sixties turned back to representationality, but it did not produce the kind of mimesis praised and practised by nineteenth-century Realism. Certainly, it was not an innocent return because it possessed a revolutionary component, in the sense that now the objects to be represented already existed as represented objects and the reader was made aware of that confusion between projection and the real object. Literature, as well as other products meant for cultural consumption, stopped being concerned with inventing new stories, new characters, new plots, and began to pay attention to the way in which the world projected by other narratives was constructed. 1 This shift of interest brought about a tendency to quote, to paraphrase, or to rework previous styles or works, and, as a consequence, writers got into the habit of creating complex texts in which the conventions of different genres collapse, in which the discourses of theory and practise are juxtaposed, and the opposition between high and popular dissolves. The result was the appearance of literary works which were, on the one hand, self-reflexive and metafictional in form, and, historically grounded, on the other, since this revisitation of already written texts was concerned with an ironic, parodie and critica! revision of the past. This revision of the past is also markedly political, because the stories and images created in this new light are not neutral, though they might sometimes seem so 'aestheticized' as to take the risk of being regarded as mere narcissistic products. 2 They are political because they become the site for a new preoccupation with power and domination, and prin-1 This characteristic of the contemporary world is commented on and defined by Baudrillard with his concept of the simulacrum: "The very definition of the real becomes: that of which it is possible to give an equivalen! reproduction. ... There used to be, before, a specific class of allegorical and slightly diabolical objects: mirrors, images, works of art (concepts?)-simulacra, but transparent and manifest (you didn't confuse the counterfeit with the original), that had their characteristic style and savoir-faire. And pleasure consisted then rather in discovering the 'natural' in what was artificial and counterfeit. Today, when the real and the imaginary are confused in the same operational totality, the aesthetic fascinations is everywhere" (Waugh 186-188). 2 Linda Hutcheon discusses the question of the political goal of these products arguing that the recurren! use of irony and parody inforrns one of the most relevant features of the postmodem age which is its involvement with a de-naturalizing critique. Through this de-familiarization of the natural consensus about social, cultural and political relations and systems postmodemism works within an undeniable political ground.
Resisting censorship and American optimism in the postwar era, film noir emerged with some specif... more Resisting censorship and American optimism in the postwar era, film noir emerged with some specific particularities which made the genre a countercultural phenomenon in the late 1940s. The possibilities offered by these films captured the attention of Orson Welles for their display of sexual dramas as metaphors of social anxieties of the times. The renovation of the noir canon is accomplished in Welles' first noir, The Lady from Shanghai (1947), with the intention of exploring deficient masculinities surrounding the totemic power of the femme fatale. The analysis of these masculinities points out the historic and cultural context of the Cold War, an era characterized by fear and paranoia, whose effect on masculinity ends with the decomposition of any heroic stand and the loss of any kind of patriotic faith. RESUMEN Como resistencia a la censura y al optimismo típico de la era de posguerra, el cine negro emergió poseyendo algunas particularidades específicas que lo transformaron en un fenómeno contracultural en la década de los cuarenta en Estados Unidos. Las posibilidades que ofrecían estas películas llamaron la atención de Orson Welles por el despliegue de dramas sexuales como metáforas de las inquietudes de la sociedad de su tiempo. Welles aborda la renovación del canon establecido por el cine negro en su película La dama de Shanghai (1947), con la intención de explorar varias masculinidades 2
La gestión de los materiales didácticos y el uso de espacios docentes en la asignatura de Lengua Alemana y su Literatura
Resumen: La adaptación de la docencia de idiomas al nuevo marco de trabajo del EEES obliga a redi... more Resumen: La adaptación de la docencia de idiomas al nuevo marco de trabajo del EEES obliga a rediseñar los contenidos, los objetivos, los papeles del profesor y del alumno en las aulas, las formas y los criterios de evaluación, los materiales, etc. El alumno ha dejado de venir a una clase en que la que se le informaba del modo en que funciona una lengua y los docentes hemos dejado de ir a las aulas con explicaciones ensayadas sobre cuestiones puramente formales. Y ello porque las aulas no son ya el único espacio de aprendizaje, ni siquiera el más importante. Las aulas, convencionales o específicamente de idiomas, solo cubren algunas facetas de las muchas y muy variadas que son requeridas para la adquisición lingüística. Considerar el papel del alumno como aprendiente fuera de las aulas obliga a rediseñar también qué es lo que podemos hacer dentro de ellas. Al hacerlo, habremos de evaluar la manera en que cada momento del proceso didáctico aconseja o requiere de los alumnos un trabajo consciente o inconsciente, autónomo o en grupo, de presentación o de consolidación, de motivación o de ensayo, etc., y, en consecuencia, cuáles son los espacios y los materiales más adecuados para ello. Es decir, aprovecharemos las posibilidades que este nuevo contexto ofrece para proponer una forma de enseñar la lengua que aspire a algo más que el tradicional intercambio de memorización de cuestiones formales por créditos.
Fundamento: la retinopatía diabética y sus complicaciones es la causa principal de disminución de... more Fundamento: la retinopatía diabética y sus complicaciones es la causa principal de disminución de la agudeza visual en la población, debido a los factores de riesgo y a un deficiente control metabólico de la enfermedad, su diagnóstico constituye un reto para los oftalmólogos en su actuar diario. Objetivo: determinar la presencia de dislipidemias y otros factores de riesgo en pacientes con edema macular diabético. M étodos: se realizó un estudio observacional descriptivo de corte transversal en pacientes con edema macular diabético que acudieron a la consulta de retina del Centro Oftalmológico Carlos J Finlay desde octubre 2011 a octubre 2012. El universo estuvo constituido por 100 pacientes y la muestra no probabilística estuvo formada por 80 pacientes que cumplieron los criterios de inclusión. Se les aplicó un formulario para recoger los datos. Los resultados se relacionaron con las siguientes variables: tiempo de evolución de la diabetes mellitus, tratamiento farmacológico, valores de colesterol y de triglicéridos, alteraciones de la microperimetría. Para la realización de la microperimetría se utilizó el protocolo automático para la mácula de 12 grados, 45 puntos maculares.
El objetivo del texto Género y Ciencias Sociales. Arqueología y cartografías de fronteras, de la ... more El objetivo del texto Género y Ciencias Sociales. Arqueología y cartografías de fronteras, de la serie Tejiendo saberes de la RED-HILA es el resultado de una labor académica conjunta de sus investigadores/as que desde diversos resultados de investigación, se pretende desentrañar la diversidad de caminos y redes en torno a la marginalidad de los estudios feministas, en la búsqueda de engendrar conocimiento crítico sobre los /las desposeídos/as desde una interseccionalidad movediza y un pensamiento limiar de las reflexiones categoriales aportadas por la epistemología de los agentes ausentes , que unidos a estudios polifónicos y de márgenes, el libro presenta diversos abordajes temático desde los estudios feministas aportando elementos que permite subvertir la pureza categorial de las diversas disciplinas de las Ciencias Sociales. Además de presentar los resultados de investigación, este libro es el resultado de un compromiso ético y político feminista en Iberoamérica que desde una perspectiva académica busca responder a las demandas de los agentes ausentes y subjetividades reveladas contra las prácticas sociales colonialistas, conformistas, rutinarias, androcéntricas, heterocentradas, que encuentran respuestas en las experiencias de fronteras.
The fundamental objective of this research work is the analysis of the connections between variou... more The fundamental objective of this research work is the analysis of the connections between various narrative structures taken from the masculine literary tradition and their particular transformation in the novels of two contemporary writers, Angela Carter (1940--1992) and Rikki Ducornet ...
It seems that a great part of postmodern fiction is a rewriting of well-known texts belonging to ... more It seems that a great part of postmodern fiction is a rewriting of well-known texts belonging to the bulk of Western tradition, and it also seems that this corresponds to a general shift in the arts occurred by the nineteen-sixties, related to a thorough questioning of two modernist premises: the rejection of mimesis as informing the work of art, and the elevation of formalist ideals to primary aesthetic principies. Literature after the sixties turned back to representationality, but it did not produce the kind of mimesis praised and practised by nineteenth-century Realism. Certainly, it was not an innocent return because it possessed a revolutionary component, in the sense that now the objects to be represented already existed as represented objects and the reader was made aware of that confusion between projection and the real object. Literature, as well as other products meant for cultural consumption, stopped being concerned with inventing new stories, new characters, new plots,...
The complex universe created by Sade has conditioned the Western imagination in such a way that h... more The complex universe created by Sade has conditioned the Western imagination in such a way that his figure has been vindicated by the different aesthetic and philosophical perspectives inhabiting the last century. Due to his potential of transgression Sade has become a cultural icon with some relevance for the evolution of feminism in the last decades. It is the purpose of this article to draw a critical line starting with the masculine tradition and analyzing later the different feminist rewritings that begins with Beauvoir's revision (1955), followed by the essay The Sadeian Woman (1979) by Angela Carter, ending with Rikki Ducornet's The Fan-Maker's Inquisition. A Novel of the Marquis de Sade (1999).
El cuerpo fascista recuperado: la exploración de la masculinidad en Fight Club The Fascist Body R... more El cuerpo fascista recuperado: la exploración de la masculinidad en Fight Club The Fascist Body Reconfigured: Masculinity explored in Fight Club LEONOR ACOSTA BUSTAMANTE* Resumen: En 1999 los debates sobre la masculinidad en crisis produjeron en Estados Unidos un volumen importante de literatura crítica y posicionó en bandos contrarios a los estudiosos que provenían de las proclamas feministas y los que fundaron el movimiento mitopoético de los hombres, enfrentados a las máximas de los Estudios de Género. El estreno de Fight Club provocó una especie de catarsis en ese escenario de confrontación y abordó la regeneración de la masculinidad hegemónica, localizándola en la vuelta a la violencia primitiva como esencia masculina. Entroncando así la narración entretejida con esos discursos, la apuesta de David Fincher, y de Chuk Palahniuk en la novela homónima de la que parte la película, aboga por detectar los peligros de entender lo masculino como esencialmente vinculado al dolor físico y a la agresividad del combate, provocando la identificación de este proceso con la conformación de los cuerpos políticos del fascismo.
Resisting censorship and American optimism in the postwar era, film noir emerged with some specif... more Resisting censorship and American optimism in the postwar era, film noir emerged with some specific particularities which made the genre a countercultural phenomenon in the late 1940s. The possibilities offered by these films captured the attention of Orson Welles for their display of sexual dramas as metaphors of social anxieties of the times. The renovation of the noir canon is accomplished in Welles' first noir, The Lady from Shanghai (1947), with the intention of exploring deficient masculinities surrounding the totemic power of the femme fatale. The analysis of these masculinities points out the historic and cultural context of the Cold War, an era characterized by fear and paranoia, whose effect on masculinity ends with the decomposition of any heroic stand and the loss of any kind of patriotic faith. RESUMEN Como resistencia a la censura y al optimismo típico de la era de posguerra, el cine negro emergió poseyendo algunas particularidades específicas que lo transformaron en un fenómeno contracultural en la década de los cuarenta en Estados Unidos. Las posibilidades que ofrecían estas películas llamaron la atención de Orson Welles por el despliegue de dramas sexuales como metáforas de las inquietudes de la sociedad de su tiempo. Welles aborda la renovación del canon establecido por el cine negro en su película La dama de Shanghai (1947), con la intención de explorar varias masculinidades
El artículo supone un acercamiento al fenómeno de la prostitución desde la perspectiva pro-sexo y... more El artículo supone un acercamiento al fenómeno de la prostitución desde la perspectiva pro-sexo y anti-abolicionista. Se propone una revisión de qué significa el cuerpo de las mujeres (de los hombres y de lxs trans) en una sociedad de mercado en la que la división entre pobres y ricos provoca la mercantilización de cualquier propiedad privada.
Uploads
Papers by Leonor Acosta