Democracy in Transición:Politics, Melodrama, History.

Spanish Transition;Melodrama;Culture & Politics;Almodovar;Pedro;De La Iglesia;Eloy;Haro Tecglen;Eduardo;Film and Video Studies;General and Comparative Literature;Romance Languages and Literature;Arts;Humanities;Comparative Literature

McManus, Stanton CarrollVon Moltke, Johannes E. ;

University of Michigan

关键词: Spanish Transition;    Melodrama;    Culture & Politics;    Almodovar;    Pedro;    De La Iglesia;    Eloy;    Haro Tecglen;    Eduardo;    Film and Video Studies;    General and Comparative Literature;    Romance Languages and Literature;    Arts;    Humanities;    Comparative Literature;   

Others  :  https://deepblue.lib.umich.edu/bitstream/handle/2027.42/61758/smcmanus_1.pdf?sequence=1&isAllowed=y

瑞士|英语

来源: The Illinois Digital Environment for Access to Learning and Scholarship

【 摘 要 】

This dissertation approaches the Spanish transición, from Franco’s death in 1975 until the socialist party’s election in 1982, as terrain on which to map out a transition to democracy in postmodernity—how democracy is imagined and materialized in politics and culture—and examine political possibilities of opposition in such a historical situation. In politics and culture, different forms of democracy came to be: a liberal democracy resulting from a transition away from opposition towards consensual negotiation; and, in culture, understood as a symbolic space of emancipation, representations of national reconciliation and identity were displaced by representations of the social order’s contingency and identities excluded from it. However, because of lingering inequalities and freedoms in postmodernity, I ask how both forms, culture and politics, might allow for political possibility and future democratic change.I draw upon Badiou, Rancière, and Castoriadis to question democracy, historically and ideologically. I address the question of politics by means of Haro Tecglen’s editorials in Triunfo, a most important magazine during the transición. Liberal democracy could be understood as completing the unfinished project of modernity, rectifying the wrongs of the past for a reconciled present, but with no politics of opposition based on agonism because of negotiation, Haro Tecglen questions if this is a genuine democracy. To examine the political possibility offered by culture, I focus on the melodramatic mode in film. At the transición’s beginning, melodramas represented a Spanish demos sharing a common ethos irrespective of ideological differences, such as in Camino’s Las largas vacaciones del 36 and Olea’s Pim, pam, pum...¡fuego!, which is similar to imagininga liberal democracy as universal reconciliation. Near the transición’s end, some melodramas, such as Almodóvar’s Pepi, Luci, Bom y otras chicas del montón and de la Iglesia’s Navajeros, disrupted such ideas of universal identity or reconciled society. Much like Jameson and Zizek, I ask whether such particularizing representations of identity offer political possibility, disrupting the undemocratic present’s situation and limits, or if more synthetic forms, in both politics and culture, are required to reveal contingency and opposing particularities while also allowing for collective experiences to be represented and materialized.