Diego Guerra
Universidad de Buenos Aires, Facultad de Filosofía y Letras, Doctor in History and Philosophy of Arts
Nació en Buenos Aires en 1976. Doctor en Historia y Teoría de las Artes (UBA) y Doctor en Español (Université Rennes 2), desarrolla su labor en torno a la fotografía y su inserción en la cultura de masas del siglo XX en la Argentina. Es docente de la Facultad de Filosofía y Letras de la UBA e investigador del Centro de Investigación en Arte, Materia y Cultura de la UNTREF, donde dirige el Programa de Estudios sobre Fotografía y Artes Visuales y el proyecto SID-UNTREF “La fotografía en el campo artístico argentino durante la segunda mitad del siglo XX”.
Supervisors: Gabriela Siracusano and Néstor Ponce
Supervisors: Gabriela Siracusano and Néstor Ponce
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Within the foundation of modern Argentina, the dialectic between « monstrous » and « normal » often worked as a metaphor of the civilization-barbarity confrontation. From 1870 decade the development of « hygienic » funerary practices like cremation was a central component of the sanitarian public policies and the emergence of social control devices. In that context, the exhibition of the dangers and horrors linked to the human corpse and its decomposition became a central topic of the cremationist rhetoric, which appealed to the imaginary of monstrous in order to create a public consciousness on the sanitary risks derived from funerary tradition of inhumation. This paper will focus on some aspects of this process, part of the historical transformations of the visual and its insertion on the XXth century mass culture, but also linked to the collective fears and taboos inspired by corpses, bacteria, worms and revenants within the cultural industry.
El presente artículo propone recorrer el desarrollo de este particular género fotográfico durante la segunda mitad del siglo XIX, a fin de contribuir al conocimiento de una práctica que sigue siendo, aún hoy, un asunto poco abordado por la historiografía.
Within the foundation of modern Argentina, the dialectic between « monstrous » and « normal » often worked as a metaphor of the civilization-barbarity confrontation. From 1870 decade the development of « hygienic » funerary practices like cremation was a central component of the sanitarian public policies and the emergence of social control devices. In that context, the exhibition of the dangers and horrors linked to the human corpse and its decomposition became a central topic of the cremationist rhetoric, which appealed to the imaginary of monstrous in order to create a public consciousness on the sanitary risks derived from funerary tradition of inhumation. This paper will focus on some aspects of this process, part of the historical transformations of the visual and its insertion on the XXth century mass culture, but also linked to the collective fears and taboos inspired by corpses, bacteria, worms and revenants within the cultural industry.
El presente artículo propone recorrer el desarrollo de este particular género fotográfico durante la segunda mitad del siglo XIX, a fin de contribuir al conocimiento de una práctica que sigue siendo, aún hoy, un asunto poco abordado por la historiografía.