Counter-essentialist femininity in post-dictatorship Argentine dramaturgy—A comparative study in Northwestern and Patagonian regions
During the dictatorial periods, Argentine dramaturgy consolidated a specific identity rhetoric, which was represented aesthetically and imaginatively through the “feminized nation”. This essentialist figuration was the object of speeches pronounced by the dictators, and by the opponents of authoritarian regimes. The purpose of this article is to analyze the hermeneutic revival of this imaginary figuration on women in the postdictatorial dramaturgies of the Argentinean Patagonia and Northwestern Argentina, in order to understand their particular poetic procedures and their counter-essentialist identitarian positions. In line with this, we will use theoretical-methodological tools from the anthropology of the imaginary (Wunenburger, 2008), the sociology of culture (Proano-Gomez, 2002; Grimson, 2012) and comparative literature (Palermo, 2005; Dubatti, 2008).
As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma.