Primera edición

El Objetivo principal de este trabajo de tesis, es mostrar a través de una revisión bibliográfica detenida y crítica de los representantes de ambas corrientes, que el debate contemporáneo sobre las relaciones existentes entre la oralidad y la escritura y sus efectos en el desarrollo de las culturas, es en realidad un falso debate. Ambas posturas son válidas, complementarias más que contrapuestas, y tienen mucho que aportar para la comprensión de las culturas.

The purpose of this article is to compare the written discourse of the writer JoséMaría Arguedas (1911-1969) and the photographs of Martín Chambi (1891-1973) in order to analyze the representation of Peruvian indigenous in the 20th century. These two authors have been chosen because, each one of them in their communicative media, are emblematic to the understanding of indigenous identity in Peru. Although the production of Chambi occurs at the beginning of the 20th century and that of Arguedas is a little later, both authors shared the same historical period and were embedded in the Andean culture. Besides, both not only represented the indigenous as a different one from them, like indigenismo movement traditionally did, but were to some extent, actors of their discursive representations. Both artists were aware of the privileged situation of belonging to two different worlds. Chambi,...

El Objetivo principal de este trabajo de tesis, es mostrar a través de una revisión bibliográfica detenida y crítica de los representantes de ambas corrientes, que el debate contemporáneo sobre las relaciones existentes entre la oralidad y la escritura y sus efectos en el desarrollo de las culturas, es en realidad un falso debate. Ambas posturas son válidas, complementarias más que contrapuestas, y tienen mucho que aportar para la comprensión de las culturas.

The purpose of this article is to compare the written discourse of the writer JoséMaría Arguedas (1911-1969) and the photographs of Martín Chambi (1891-1973) in order to analyze the representation of Peruvian indigenous in the 20th century. These two authors have been chosen because, each one of them in their communicative media, are emblematic to the understanding of indigenous identity in Peru. Although the production of Chambi occurs at the beginning of the 20th century and that of Arguedas is a little later, both authors shared the same historical period and were embedded in the Andean culture. Besides, both not only represented the indigenous as a different one from them, like indigenismo movement traditionally did, but were to some extent, actors of their discursive representations. Both artists were aware of the privileged situation of belonging to two different worlds. Chambi,...

Páginas 97-113

Tomo 1. Páginas 319-330

The purpose of this article is to compare the written discourse of the writer JoséMaría Arguedas (1911-1969) and the photographs of Martín Chambi (1891-1973) in order to analyze the representation of Peruvian indigenous in the 20th century. These two authors have been chosen because, each one of them in their communicative media, are emblematic to the understanding of indigenous identity in Peru. Although the production of Chambi occurs at the beginning of the 20th century and that of Arguedas is a little later, both authors shared the same historical period and were embedded in the Andean culture. Besides, both not only represented the indigenous as a different one from them, like indigenismo movement traditionally did, but were to some extent, actors of their discursive representations. Both artists were aware of the privileged situation of belonging to two different worlds. Chambi,...

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This article reflects on visual essay as a research instrument within social communication, which builds meaning from the visual, linking ideas, emotions and affects, and contributes to build an inclusive public sphere at the service of the public good, within visual culture. Its hybrid nature intertwines visual and verbal language, which, unlike other visual and audiovisual products, allows argumentation and to build a thought that includes subjectivity, but also to the Other. It is from this relationship with the Other that proposes a way of learning and interacting with reality as something different, according to sensitivities that aestheticization of social communication demands, and obtains its truth from the intersubjectivity with which it is constructed.

No presenta resumen.

No description

This article reflects on visual essay as a research instrument within social communication, which builds meaning from the visual, linking ideas, emotions and affects, and contributes to build an inclusive public sphere at the service of the public good, within visual culture. Its hybrid nature intertwines visual and verbal language, which, unlike other visual and audiovisual products, allows argumentation and to build a thought that includes subjectivity, but also to the Other. It is from this relationship with the Other that proposes a way of learning and interacting with reality as something different, according to sensitivities that aestheticization of social communication demands, and obtains its truth from the intersubjectivity with which it is constructed.