東華大學圖書館 |

Hijas del horror: Rocio Silva Santisteban y Regina Jose Galindo. El testimonio como herramienta discursiva del arte de la memoria = = Daughters of Horror: Rocio Silva Santisteban and Regina Jose Galindo. Testimony as a Discursive Tool of the Art of Memory.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Hijas del horror: Rocio Silva Santisteban y Regina Jose Galindo. El testimonio como herramienta discursiva del arte de la memoria =/
其他題名:	Daughters of Horror: Rocio Silva Santisteban and Regina Jose Galindo. Testimony as a Discursive Tool of the Art of Memory.
作者:	Huaman Andia, Bethsabe.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
面頁冊數:	282 p.
附註:	Source: Dissertations Abstracts International, Volume: 81-03, Section: A.
Contained By:	Dissertations Abstracts International81-03A.
標題:	Latin American literature. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13815044
ISBN:	9781085604444

Hijas del horror: Rocio Silva Santisteban y Regina Jose Galindo. El testimonio como herramienta discursiva del arte de la memoria = = Daughters of Horror: Rocio Silva Santisteban and Regina Jose Galindo. Testimony as a Discursive Tool of the Art of Memory.
Huaman Andia, Bethsabe.

Hijas del horror: Rocio Silva Santisteban y Regina Jose Galindo. El testimonio como herramienta discursiva del arte de la memoria =Daughters of Horror: Rocio Silva Santisteban and Regina Jose Galindo. Testimony as a Discursive Tool of the Art of Memory. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 282 p.

Source: Dissertations Abstracts International, Volume: 81-03, Section: A.

Thesis (Ph.D.)--Tulane University, Graduate Program in Biomedical Sciences, 2019.

This item must not be sold to any third party vendors.

My dissertation, entitled "Hijas del horror: Rocio Silva Santisteban y Regina Jose Galindo. El testimonio como herramienta discursiva del arte de la memoria," focuses on the representation of sexual violence in the poetry of Rocio Silva Santisteban and the performances of Regina Jose Galindo. I analyze the discursive tools that these artists use to represent violence in a way that allows the public or reader to engage with women's point of view. Silva Santisteban as well as Galindo were inspired by the thousands of oral testimonies that women survivors told to the truth commission in Peru and Guatemala.First chapter, "Crimes Against Women in the Armed Conflict in Guatemala and Peru," is a review of the internal wars in Guatemala (1962-1996) and Peru (1980-2000), focusing especially on the crimes and consequences these wars had for women. Second chapter, "Theoretic Foundations of Sexual Violence Against Women: The Role of the Testimonies," is a review of the different approaches that seek to explain the characteristic of sexual violence against women, why most of women doesn't denounce it and which is the conception of women that is behind this violence expression. Third chapter, "Daughters of Horror or Experiencing Others' Pain," is a close reading of the most recent poetry book by Rocio Silva Santisteban, Las hijas del terror (2007), in which the author represents rape, forced displacement, and fear from the perspective of Peruvian women. I give special attention to the way testimonies inspired the book and are used as a poetic tool. Fourth chapter, "Regina Jose Galindo or the Body as Testifying to Pain," is an analysis of two performance pieces -Mientras, ellos siguen libres (2007) and La verdad (2013)-, where Galindo represents the crimes suffered by women during the Guatemalan war. She places her body in the place of the female that suffered rape, torture, destruction, horror. I give special attention to the contradictions that the representation of violence can lead to, without intention, the perpetuation of violence, and the strategies that Galindo uses to avoid that misunderstanding. The fifth concluding chapter established a dialogue between these two artists.

ISBN: 9781085604444Subjects--Topical Terms:

2078811
Latin American literature.
Subjects--Index Terms:

Arte de la memoria

Hijas del horror: Rocio Silva Santisteban y Regina Jose Galindo. El testimonio como herramienta discursiva del arte de la memoria = = Daughters of Horror: Rocio Silva Santisteban and Regina Jose Galindo. Testimony as a Discursive Tool of the Art of Memory.
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245 1 0 $a Hijas del horror: Rocio Silva Santisteban y Regina Jose Galindo. El testimonio como herramienta discursiva del arte de la memoria = $b Daughters of Horror: Rocio Silva Santisteban and Regina Jose Galindo. Testimony as a Discursive Tool of the Art of Memory.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2019
300 $a 282 p.
500 $a Source: Dissertations Abstracts International, Volume: 81-03, Section: A.
500 $a Advisor: Miller, Marilyn.
502 $a Thesis (Ph.D.)--Tulane University, Graduate Program in Biomedical Sciences, 2019.
506 $a This item must not be sold to any third party vendors.
520 $a My dissertation, entitled "Hijas del horror: Rocio Silva Santisteban y Regina Jose Galindo. El testimonio como herramienta discursiva del arte de la memoria," focuses on the representation of sexual violence in the poetry of Rocio Silva Santisteban and the performances of Regina Jose Galindo. I analyze the discursive tools that these artists use to represent violence in a way that allows the public or reader to engage with women's point of view. Silva Santisteban as well as Galindo were inspired by the thousands of oral testimonies that women survivors told to the truth commission in Peru and Guatemala.First chapter, "Crimes Against Women in the Armed Conflict in Guatemala and Peru," is a review of the internal wars in Guatemala (1962-1996) and Peru (1980-2000), focusing especially on the crimes and consequences these wars had for women. Second chapter, "Theoretic Foundations of Sexual Violence Against Women: The Role of the Testimonies," is a review of the different approaches that seek to explain the characteristic of sexual violence against women, why most of women doesn't denounce it and which is the conception of women that is behind this violence expression. Third chapter, "Daughters of Horror or Experiencing Others' Pain," is a close reading of the most recent poetry book by Rocio Silva Santisteban, Las hijas del terror (2007), in which the author represents rape, forced displacement, and fear from the perspective of Peruvian women. I give special attention to the way testimonies inspired the book and are used as a poetic tool. Fourth chapter, "Regina Jose Galindo or the Body as Testifying to Pain," is an analysis of two performance pieces -Mientras, ellos siguen libres (2007) and La verdad (2013)-, where Galindo represents the crimes suffered by women during the Guatemalan war. She places her body in the place of the female that suffered rape, torture, destruction, horror. I give special attention to the contradictions that the representation of violence can lead to, without intention, the perpetuation of violence, and the strategies that Galindo uses to avoid that misunderstanding. The fifth concluding chapter established a dialogue between these two artists.
520 $a My dissertation, entitled "Hijas del horror: Rocio Silva Santisteban y Regina Jose Galindo. El testimonio como herramienta discursiva del arte de la memoria" ["Daughters of Horror: Rocio Silva Santisteban and Regina Jose Galindo. The testimony as a discursive tool of the art of memory,"] focuses on the representation of sexual violence in the poetry of Rocio Silva Santisteban and the performances of Regina Jose Galindo. I analyze the discursive tools that these artists use to represent violence in a way that allows the public or reader to engage with women's point of view. Silva Santisteban as well as Galindo were inspired by the thousands of oral testimonies that women survivors told to the truth commission in Peru and Guatemala. The artwork analyzed in my dissertation shows interesting uses of testimony as a tool for representation, and also allows a review of critical theory influenced by Gender Studies, in order to approach the problematic of violence and the representation of the subaltern subject.The first chapter, "Crimes Against Women in the Armed Conflict in Guatemala and Peru," is a review of the internal wars in Guatemala (1962-1996) and Peru (1980-2000), focusing especially on the crimes and consequences these wars had for women. I also explain certain commonalities between the Truth Commissions in both countries in order to identify crimes against women, as the Guatemalan Comision para el Esclarecimiento Historico (CEH) provided an example for the Comision de la Verdad y Reconciliacion (CVR) in Peru. The second chapter, "Theoretic Foundations of Sexual Violence Against Women: The Role of the Testimonies," is a review of the different approaches that seek to explain the characteristic of sexual violence against women, why most of women doesn't denounce it and which is the conception of women that is behind this violence expression. The representation of women is made in the context of the "coloniality of power" as developed by Anibal Quijano, with the gender theory contributions of Rita Laura Segato, Maria Lugones, and Breny Mendoza. I also explore how this social problem has been represented in art and the role that testimonies play in order to bring in the perspective of women, especially indigenous women, from oral speech to written discourse. The third chapter, "Daughters of Horror or Experiencing Others' Pain," is a close reading of the most recent poetry book by Rocio Silva Santisteban, Las hijas del terror [Daugthers of Terror ](2007), in which the author represents rape, forced displacement, and fear from the perspective of Peruvian women. I focus on the multiple strategies that Silva Santisteban employs in order to represent that blind spot of the violence by which women are blamed, despite of the fact that this violence is imposed on them as torture and punishment. I give special attention to the way testimonies inspired the book and are used as a poetic tool. The fourth chapter, "Regina Jose Galindo or the Body as Testifying to Pain," is an analysis of two performance pieces by Galindo, -Mientras, ellos siguen libres [Meanwhile, They are Free](2007) and La verdad [The Truth] (2013)-, where she represents the crimes suffered by women during the Guatemalan war. She places her body in the place of the female that suffered rape, torture, destruction, horror. I give special attention to the contradictions that the representation of violence can lead to, without intention, the perpetuation of violence, and the strategies that Galindo uses to avoid that misunderstanding. In my fifth concluding chapter, "Poetics, Politics, and Words," I establish a dialogue between these two artists and these two poetics, contexts, geographies, and dilemmas. As an interdisciplinary approach, my dissertation is an original contribution to the rich field of Gender Studies as applied to Literature, Performance Studies, and Memory Studies, mapping the continuities between Peru and Guatemala in the representation of violence during the period of Twentieh Century Armed Conflict.
590 $a School code: 0235.
650 4 $a Latin American literature. $2 fast $3 2078811
650 4 $a Gender studies. $3 2122708
653 $a Arte de la memoria
653 $a Conflicto armado
653 $a Performance guatemalteco
653 $a Poesia peruana
653 $a Representacion de la violencia
653 $a Violencia sexual
690 $a 0312
690 $a 0733
710 2 $a Tulane University, Graduate Program in Biomedical Sciences. $b Spanish and Portuguese. $3 3564199
773 0 $t Dissertations Abstracts International $g 81-03A.
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791 $a Ph.D.
792 $a 2019
793 $a Spanish
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13815044