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El consumo me consume, Tomas Moulian – YouTube. CONSUMO ME CONSUME, EL (Spanish Edition) [MOULIAN TOMAS] on by MOULIAN TOMAS (Author). out of 5 # in Books > Libros en español . Moulian, Tomás. La forja de ilusiones: Moulian, Tomás. El consumo me consume. Santiago: Libros La Calebaza del Diablo. Murphy, Edward.

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UBC Theses and Dissertations. I argue that the transformation of the developmentalist narrative characteristic of the Popular Front and the Popular Unity into a neoliberal narrative during the Dictatorship and the Transition, depended on the staging of a series of spectacles of gender and sexuality that offered new coordinates for subjectivation.

This leads me to ask how these spectacles and the narratives they articulate are being negotiated, resisted, and transformed through embodied queer and feminist political practices. I explore how activist performance has contributed to the expansion of cultural memories and the emergence of utopian political imaginaries and subjects in post-dictatorship Chile I approach these questions from an interdisciplinary approach to feminist research, informed by discourse analysis, psychoanalysis, post-colonial theory, Latin American readings of queer theories, and cultural studies.

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I argue that the queer and feminist activist performances analyzed in this thesis enact femininity in a strategic, rather than essentialist manner, to oppose and subvert the militarized male gaze. French from the Department of History, Dr. Social Crisis, Sexual Crisis Gender and Sexual Scripts of Neoliberalism Performing with Rompehogares in left and at the first FemFest in Santiago, same year. Embracing tomboy metal girlhood in in Chile left and in in Canada right.

Internet leaflet by the Chilean Network Against Domestic and Sexual Violence calling for a protest for reproductive rights. Banner on the site of construction building leftadvertising billboard for late-night telenovela. Pictures by author, Santiago, December Cover of Valdivieso, the “Angel of Freedom” was also pressed on ten peso coins with the date September 11th, next to it. Spectators of “La casa de vidrio.

Courtesy of Victor Hugo Robles……… Courtesy of Victor Hugo Robles…………………………. Street stencil, Santiago, Christmas Card by Las Choras del Puerto. Performative action during street protest. Courtesy of Victor Hugo Robles. Memorial action for the victims of femicide in Chile Scene from the film “Empanada de Pino” Chile, The generous support of the Liu Institute for Global Issues provided me with an office, a camera, and with the opportunity to travel to Chile to observe and document a series of performances in I would like to thank my parents Juan Valle and Viviane Castro, and my step-parents Nathalie Balmaceda and Eduardo Valencia, for always supporting my education and instilling in me a love for politics, critical thought, and art.

Finishing my thesis would have been impossible without the love and support of my husband Jeff Fagoaga, and the help of my mother in-law Sharon Thomson who spent many hours taking care of our daughters Ramona and Guadalupe. I also want to acknowledge the network of parents, teachers, childcare providers, janitors, administrative staff, food servers, and others who performed the too-often overlooked, feminized, undervalued labour that made it possible for me to embark on this task.

Both my mom and my dear friend Linda Lee provided emergency English proofreading. In we organized the first FemFest in Santiago. Based on the principles of the transnational anarcho-feminist festival, LadyFest, which promoted horizontal collaboration and participation as a means of politicization, and individual and collective empowerment, FemFest was inspired by the riot grrl subculture of the Pacific Northwest in the United States.

The festival worked on a cooperative model: Somebody offered to screen a queer and trans porn film called Tranny Fucks, and we all agreed that it was a good idea. This year FemFest is celebrating its tenth anniversary. I look closely at the picture of her.

Snapshot Two December The Chilean presidential election confronts two women for the first time, Evelyn Matthei and Michelle Bachelet. Because this is Chile, where there is a tendency towards the extremely surreal and ironic, these two women are both daughters of generals of the air force, and one of these generals Matthei is being investigated for his participation in the murder of the other Bachelet.

This is very representative of the promiscuity of the post-dictatorship in Chile, in which perpetrators, victims, collaborators, resisters, and people who claim ignorance of state 3 terror still share everyday spaces.


I think about the militarized violence that penetrated social life and institutions, and about myself growing up within the dictatorship—the dull, dark and gloomy years of school under military rule. In the end, Bachelet wins the election. Snapshot Three Luckily, during my early adolescence in the mid-eighties, I discovered heavy metal.

Thrashers and punks would meet every Saturday at noon in the Providencia neighbourhood to exchange music tapes, magazines, fanzines, and to talk about metal. Growing up female in Chile was challenging and made me very angry, so at the age of ten I began using heavy metal culture to imagine my own identity outside the boundaries of what was desirable and appropriate for girls in militarized Chile, embracing a kind of empowering masculine girlhood.

On through the mist and the madness We are trying to get the message to you We are as one as we all are the same, fighting for one cause Leather and metal are our uniforms, protecting what we are Joining together to take on the world with our heavy metal Spreading the message to everyone here Come let yourself go!

It seemed that we could try to define ourselves through other means. Snapshot Conshmo July Inat the age of 23, I was fortunate that my family was able to help me end an unwanted pregnancy by paying for an illegal abortion.

The year before, I had had a miscarriage and when my mother took me to the clinic the doctors interrogated both of us, suggesting consmue I had attempted an illegal abortion.

A woman faces a three to five-year prison sentence just for seeking an abortion in Chile. Inwhile three months pregnant with my younger daughter Guadalupe, I visited Chile and 6 participated in a street demonstration to decriminalize abortion. We were dismembered, we were drowned, poisoned with the cold blood of an executioner. For our death money was paid, a blood price like the one Judas received. Because the universe is surprising and unexpected, time and space folded upon themselves like a handkerchief on September 11, Roberto, my favourite cousin, is the son that my uncle never got to meet.

Later, we learned that he had died heroically and violently. During my adult life, the only fact I really knew was that he had been taken from his apartment and shot while in captivity. And on September 11,while reading for my exams, I came across the complete file of his case, composed of the testimonies by witnesses who saw him in Villa Grimaldi and at the DINA Hospital after he was detained.

The witnesses reported that he was concerned about his pregnant girlfriend and asked repeatedly about her. Snapshot Six In another strange moment of synchronicity, this image from fomas summer of in Chile gets recirculated on Facebook in Maycalling for a protest demanding the decriminalization of abortion on my 40th birthday. The picture is adorned by the text: Free Abortion on Demand. A seventeen year old patient in critical condition at the Hospital Luis Tisne in Santiago has been denounced to the police by the doctor who admitted her.

The prosecution has already pressed charges while the minor lays unconscious in a hospital bed. Taking as a point of departure the intersecting coordinates of the body, violence, memory, and popular culture, I explore how feminist and queer activist performance in post-dictatorship Chile has been instrumental in expanding cultural memories and in enabling consuo emergence ocnsume utopian political imaginaries and individual and collective subjectivities.

I ask how these performances challenge the state-sponsored spectacles that flourished through the neoliberal state, built around a militarized male gaze. These spectacles inscribed the female body as a commodity, a property of the state, and a function of producing capital; while at the same time formulating a narrative of sexual freedom. I try cnsumo understand how neoliberalism, militarism, and nationalism are being negotiated, resisted, and transformed through post-dictatorship queer and feminist performances, while at the cohsumo time weaving in some reflections of my own autobiography in relation to the sexualized spectacles of neoliberalism, the body, and performance as a political practice.

The snapshots that opened my Introduction mark two central points that guide this work. The first point is the lack of linear temporality in memory and the multiple temporalities and spaces that overlap in our experiences. I grew up an libroo girl in the s.

For most of my childhood I felt a deep sense of inadequacy: It was and I was aware I had a different background than most of my classmates and neighbourhood friends, having just returned from exile in Colombia. I arrived back in Chile with an accent.


La Forja de Ilusiones: El Sistema de Partidos, 1932-1973

I had recently-separated young leftist atheists as parents, and a family history that did not find recognition in the official narratives. I was sexually molested at the age of five by a male relative, and completely lacked of any interpretation for it, consum than a vague perception that it was somehow my fault. Far from being isolated incidents, these experiences are common examples of toas violent, scrutinizing, misogynistic and homophobic gaze mobilized though not invented by the spectacles of market nationalism.

Moreover, the official memory on state violence of the left, did not even register these romas catastrophes of queer bodies nor connect them with 12 larger narratives of gender, sexuality, class, and race, or to the traumatic masculine violence brought about with the coup. In my twenties, I took a painful path to reclaiming my body from these experiences through anorexia, addiction, piercing, and tattooing.

At 26, I started performing as the frontwoman of an all-female surf punk band Penelope Glamour.

I masturbate in the shower and the bathtub! I make terrorist attacks on TV presenters, singers and artists! Because he was stupid, homophobic and sexist, because he made this surfer mad! I left Chile in to do graduate studies in Vancouver and since then, much has transpired there and here. Politically, I wish to contribute to undoing the legacies of militarized violence and neoliberal ideology in Chile, along with their long-term effects on the shaping of gendered subjectivities.

Chileans currently live under the violently imposed totalitarianism of the free market. While neoliberalism presents itself as the only possible way to live, in few other countries in the world do citizens live within such a persistent state of vulnerability and precariousness as in Chile.

In order noulian challenge, question, or at least understand the disciplining practices of neoliberalism at work in contemporary Chile, it is urgent that we recognize in which ways we are being interpellated as neoliberal national subjects through certain spectacles of gender, sexuality, and market nationalism.

Consumk, my focus on the post-dictatorship era in Chile does not suggest that the historical constitution of neoliberal subjectivities through gendered and sexualized spectacles is a process exclusive to this 14 particular context.

“El consumo me consume” | Moulian by Mariana González Burgstaller on Prezi

Instead, this work illuminates, through a queer and post-colonial feminist analysis, some of the multiple ways that gender and sexuality intersect with nationalism and neoliberal ideology in the context of globalized capitalism. I consider queer and post-colonial theories as productive and relevant for analyzing the Chilean post-dictatorship, and reflect on how these theories themselves are reformulated through political practice in this specific context.

I argue for the need to read critically —using the tools of psychoanalysis, post-colonial and queer feminisms— spectacles that are controlled by consuo neoliberal state along the dictatorship and the post-dictatorship, and to more broadly pay attention to the implications of the imaginaries and narratives that are put forward by this historically situated state formation. The emergence of a neoliberal state in Chile was carried out first under the Pinochet years, and later 15 achieved consolidation and democratic legitimation through the subsequent governments.

Under neoliberal restructuring, the labour market, and not unemployment, is the main structural mechanisms to reproduce wealth and poverty. Precarious, temporary, mobile, unprotected work becomes the backbone of the economic system. At the same time, Preciado has suggested that what characterized this current stage of capitalism is the political molian of the body, sex, and sexuality. I align with these authors in the thrust to understand capitalism and neoliberalism in their negative dimensions, but also in its productive dimension of disciplining bodies and circulating a historically specific form of neoliberal desire linked to ideas of le individual body and sexual freedom.

Desire is thus not conscious, nor individual, and it cannot be equated with pleasure and happiness, but rather is a drive only partially known to us by its effects. I argue about the possibilities of hybrid and partial political articulations and formulations that go beyond the language of individual rights to assert broader collective subjectivities and utopian desires.