In 1984, eight-year-old Paula Logares was called into a judge’s chambers and was told the man and woman she lived with were not her parents. Her parents had been disappeared during the dirty war, and now, through her blood, scientists would be able to return her to her birth family. Paula, thus, became the first “stolen” child in Argentina to be identified via the incipient technology of DNA identification. With this forensic first, DNA identification has emerged as a central tool (...) of good governance the world round. From routine crime fighting to international criminal tribunals, DNA plays a crucial role in attempts to reckon with crimes of the body. As an alternative origin for forensic DNA, Argentina offers an early example of science emerging from social movements in the Global South. Drawing on twenty-seven months of fieldwork with family members, activists, and scientists, this article documents the ways in which DNA has emerged as a core site of subject formation for individuals and families affected by the terror of the dictatorship and for the Argentine nation-state, as it reckons with the legacies of repression. Through a feminist, postcolonial frame, I offer the concept of restitution as a way of attending to the forms of biocitizenship that emerge during times of humanitarian crisis and transitional justice. As a tool of reproductive governance, forensic DNA acts not only as a powerful disciplinary site of biocitizenship but also as a potential space to reimagine the social contract between the body, the public, and the state. (shrink)

This essay focuses on two questions. On a general level: the relevance of postcolonial studies, after Twentieth century's second half, in the historical processes and the political cultures of the global South - concentrating on the exploration of the Argentinian position related to its Latin American regional context. More specifically, the article stresses the comparative perspective's importance to analyze the tension between postcolony/postdictatorship and the democratic transition. These questions are read within contemporary violent processes of primitive accumulation of capital, (...) with its specific death's technologies. (shrink)

El objetivo de este trabajo es analizar el acuario como una figuración espacial del imaginario social en tres novelas escritas por autores chilenos en las últimas dos décadas, El nadador de Gonzalo Contreras, La vida privada de los árboles de Alejandro Zambra y Monsieur Pain de Roberto Bolaño. Su finalidad es atisbar en la configuración imaginaria de los espacios de la intimidad y de la intemperie en la posdictadura chilena y, más generalmente, en el entorno global en que se desarrolla (...) la tercera fase del capitalismo multinacional. The aim of this article is to analyze the aquarium as a spatial figure of social imaginary in three novels written by Chilean authors in the past two decades, Gonzalo Contreras's El nadador , Alejandro Zambra's La vida privada de los árboles and Roberto Bolaño's Monsieur Pain . My purpose is to inquire about the imaginary configuration of spaces that refer to intimacy and the shelterless in the context of chilean postdictatorship and, more generally, in the global environment of the third stage of multinational capitalism. (shrink)

This article asks whether there were, in post-dictatorship Chile, limitations of the autonomy of cultural and artistic production addressing the memory of traumatic events. In particular, the article analyzes the content and history of the production of some relevant sections of the mural painting Memoria Visual de una Nación by the Chilean artist Mario Toral. The article demonstrates that public art was an arena of struggle for the meaning of democracy during the postdictatorship period. To do this, he uses (...) concepts from post-structuralist political theory, cultural studies, the philosophy of memory, and memory studies. The article also offers an interpretation of cultural production as an open and contingent process. It concludes that the transition via transaction in Chile had a negative influence on the field of artistic production, reducing its autonomy and divergence from the dominant political discourse in the period. (shrink)

En este artículo el autor desarrolla una mirada de generación y de género al consumo cultural de los jóvenes de sectores medios en Chile, a través de un enfoque no convencional de la diversión nocturna en el contexto postdictadura. El texto profundiza en las formas en que la sociedad se relaciona con los jóvenes y en los nuevos modelos de identidad, haciendo un contrapunto con la socialización que se generaba en el anterior modelo cultural respecto de este grupo etáreo. Se (...) focaliza para su exposición en dos espacios de entretención característicos de la juventud y en los códigos de esta generación. Como una de las conclusiones, destaca un tránsito desde los grupos de referencia a los grupos de consumidores. (shrink)