|About the Book|
This dissertation maps the transitional nature of masculinities during the process of redemocratization in Argentina in an array of literary and cinematic representations generated by the Malvinas/Falklands conflict of 1982. The Malvinas/FalklandsMoreThis dissertation maps the transitional nature of masculinities during the process of redemocratization in Argentina in an array of literary and cinematic representations generated by the Malvinas/Falklands conflict of 1982. The Malvinas/Falklands war brought to the forefront the male ideal promoted by the last Argentine dictatorship (1976--1983), which was based on the militarization of gender relations, the glorification of the war hero and the use of stereotypical sexual imagery to describe political and social conflict.-The first chapter deals with the representation of the war hero in the official Junta discourse in contrast with literary representations that undermine that ideal construction. Texts such as Los Pichiciegos by Rodlofo Fogwill and Rodrigo Fresans La soberania nacional provide intricate examples of the clash between the military idealization of the masculine and the picaresque soldier in fiction. The second chapter explores how literature further challenges the official war hero myth: Las Islas by Carlos Gamerro presents male characters acting out hysterical manifestations of the war trauma as symptoms of a failed masculinity in close dialogue with the gender paradigm of the Junta. The third chapter explores the metaphors that conflated feminine body with a territory to be conquered deployed by the military government and how masculinities are constructed in close relation to those metaphors. The sections devoted to the analysis of the film Fuckland and Osvaldo Sorianos novel A sus plantas rendido un leon aim to chart a dialectic of internalization and rejection of the official image of the patriotic male. Finally, the fourth chapter focuses on alternatives to the hegemonic masculinity imposed during the dictatorship. This process in as an endeavor overridden by conflictive explorations of masculine identity as posed in Federico Jeanmaires diptych La Patria and Papa, Jose Pablo Feinmanns La critica de las armas and Gustavo Ferreyras El director. The critical reading of these masculine figures captures the multiple ways in which male subjectivity is constructed in tension with hegemonic or dominant masculinity models that operated during the dictatorship as well as the residual characteristics that have been carried on to the democratic period.