Relevant bibliographies by topics / Gender identity – Argentina

Academic literature on the topic 'Gender identity – Argentina'

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Published: 10 March 2023

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Journal articles on the topic "Gender identity – Argentina"

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CRISTIÁ, CINTIA. "(De)constructing Argentine Women: Gender, Nation, and Identity in ‘Alfonsina y el mar’." Twentieth-Century Music 19, no. 1 (February 2022): 29–63. http://dx.doi.org/10.1017/s1478572221000219.

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AbstractThis article examines gender, nation, and identity in the popular song of folk roots ‘Alfonsina y el mar’. Written by Félix Luna and Ariel Ramírez, the song is based on the suicide of feminist poet Alfonsina Storni and achieved worldwide popularity through Mercedes Sosa's 1969 rendition on the album Mujeres argentinas. Using Butler's theory of gender performance, Cusick's proposals for a feminist music theory, and Plesch's concept of dysphoric topics in Argentine nationalist music, this article deconstructs the song's poetic, musical, and visual discourses to critique its underlying cultural signification. It concludes that by infantilizing, romanticizing, and nationalizing Storni's public figure, her legacy was adapted to the patriarchal expectations of decorum and historical narrative about nation pervasive in Argentina in the late 1960s. Storni's white European urban background was adapted to more ‘authentic’ Argentine values through Sosa's performance and public image.
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Rucovsky, Martin De Mauro. "Trans* necropolitics. Gender Identity Law in Argentina." Sexualidad, Salud y Sociedad (Rio de Janeiro), no. 20 (August 2015): 10–27. http://dx.doi.org/10.1590/1984-6487.sess.2015.20.04.a.

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On May 9th, 2012, the Argentinean Senate converted into law the long collective process, driven by trans* activism, towards the legal recognition of gender identity. The Gender Identity Act (GIA) meant a large contribution to the field of civil and sexual rights interationally, especially in the matter of trans* policy. Nevertheless, what was at stake in the approval of the GIA was not just a step forward in legal terms and at a personal level for trans* people, but a whole set of representations, desires and social stakes on trans* lives and population. Thus, as regards to the scope and achievements of the GIA and its social and parliamentary debates, we can assert that in that realm a specific trans* life does not qualify as a living life. This article addresses the specific ways of presentation and apprehension of trans* lives in parliamentary debates about the GIA, and in social disputes within trans* activism. A biopolitical analysis of gender identity leads us to rethink the social conditions that sustain life and, by the same token, the interpretative frameworks of death.
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Grinstein, Victoria. "¿El futuro es de generado? – Aportes para pensar en una sociedad sin encasillamientos de sexo/género." iQual. Revista de Género e Igualdad, no. 5 (February 10, 2022): 116–26. http://dx.doi.org/10.6018/iqual.467071.

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This article discusses about the category “sex” in the argentine identity card. Considering the queer and trans theory, it looks foward to the possibility of modifying this category to create a society free from gender clasifications. It considers different interpretations to argue about the construction of identity after the Gender Identity Law in Argentina was sanctioned en 2012, its goals and limitations and the possibility of imagining a society that breaks with binary categorizations. It uses a couple of examples from trans and non binary people in Argentina that managed to make changes in their ID, being able to register themselves without having to chose between female or male. Este artículo tiene como finalidad poner en discusión la categoría “sexo” presente en el documento nacional de identificación argentino. A partir de los aportes de la teoría queer y trans, se propone pensar los alcances posibles de modificar o eliminar esta categoría, en pos de crear una sociedad que se libere de los encasillamientos de género en términos registrales. Tomando distintas interpretaciones, se discute en torno a la construcción de la identidad a partir de la sanción de la Ley de Identidad de Género en el año 2012, sus alcances y limitaciones y las posibles implicancias sociales de pensarnos por fuera de la forma binaria que tenemos actualmente para categorizarnos. Para ello se utilizan los casos de varias personas travestis y no binaries en Argentina que lograron hacer cambios registrales para que en el casillero de “sexo” no aparezca ni hombre ni mujer.
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De Mauro Rucovsky, Martín, and Ian Russell. "The Travesti Critique of the Gender Identity Law in Argentina." TSQ: Transgender Studies Quarterly 6, no. 2 (May 1, 2019): 223–38. http://dx.doi.org/10.1215/23289252-7348510.

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Belanti, María Milena. "Hacia una ruptura de la concepción binaria del género y el sexo. El caso Maria Lara Bertolini / A break in the binary conception of gender and sex. The Maria Lara Bertolini case." Revista Derecho y Salud | Universidad Blas Pascal, no. 3 (October 31, 2019): 225–40. http://dx.doi.org/10.37767/2591-3476(2019)17.

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El artículo analiza una nueva e importante sentencia respecto del Derecho a la Identidad de Género en Argentina, ampliando aún más el mismo en los márgenes de la Ley de Identidad de Género nacional. The article analyzes a new and important sentence regarding the Right to Gender Identity in Argentina, further expanding it in the margins of the National Gender Identity Law.
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Pérez, Moira, and Blas Radi. "Gender punitivism: Queer perspectives on identity politics in criminal justice." Criminology & Criminal Justice 20, no. 5 (July 14, 2020): 523–36. http://dx.doi.org/10.1177/1748895820941561.

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The article examines the convergence of identity politics and punitivism, two tendencies that profoundly affect current LGBT activism and state criminal policies. It considers the case of Argentina, a country often deemed exemplary in terms of gender-related legislation, and analyses a 2018 sentence that incorporates the concept of ‘travesticide’ in order to examine how the role of identity in political strategies, added to prevailing notions of gender, limits the possible approaches and answers to violence against gender non-conforming communities. It then takes this a step forward to understand how these answers are, in turn, often reduced to punitivist outcomes, narrowing the understanding of reparation and exposing the most vulnerable subjects in the community to further violence. As a contribution to Queer Criminologies, the article seeks to expose the limitations of identity politics, and in particular of its advocacy for gendered rights, showing how they can force gender non-conforming subjects to choose between rights, most notably between legal recognition of their gender identity, and safety vis-à-vis the state apparatus of criminal justice.
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Socías, María Eugenia, Brandon D. L. Marshall, Inés Arístegui, Virginia Zalazar, Marcela Romero, Omar Sued, and Thomas Kerr. "Towards Full Citizenship: Correlates of Engagement with the Gender Identity Law among Transwomen in Argentina." PLoS ONE 9, no. 8 (August 18, 2014): e105402. http://dx.doi.org/10.1371/journal.pone.0105402.

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Iacub, Ricardo, Claudia J. Arias, Mariana Mansinho, Martín Winzeler, and Rocio Vazquez Jofre. "Sociocultural Changes and the Construction of Identity in Lesbian and Gay Elderly People in Argentina." International Journal of Aging and Human Development 88, no. 4 (March 19, 2019): 341–57. http://dx.doi.org/10.1177/0091415019836928.

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In the last two decades, lesbian, gay, bisexual, and transgender + elderly people in Argentina have experienced considerable transformations with respect to social policies and laws as well as in the media and public opinion. This article aims to analyze the levels of acceptance and expression of identity (“coming out”) in lesbian and gay seniors based on the political and legal changes that have occurred in Argentina but also in their relationship with others. Focus groups were conducted with 10 older gay and 10 older lesbians. The results indicate that sociocultural changes are seen as something positive although doubts arise about the in-depth and authenticity of the changes. The same-sex marriage and gender identity laws are considered as a symbol of an era of greater tolerance and diversity in which they have achieved the exercise of their rights as citizens.
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Arístegui, Inés, Alejandro Castro Solano, and Abraham P. Buunk. "Do Transgender People Respond According to Their Biological Sex or Their Gender Identity When Confronted With Romantic Rivals?" Evolutionary Psychology 17, no. 2 (April 1, 2019): 147470491985113. http://dx.doi.org/10.1177/1474704919851139.

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This study examined the hypothesis that gender identity and biological sex represent independent modules and that transgender individuals respond to romantic rivals in line with their gender identity and not with their biological sex. Additionally, associations of jealousy with intrasexual competitiveness (ISC) and social comparison orientation (SCO) were explored. A total of 134 male-to-female and 94 female-to-male transgender individuals from Greater Buenos Aires, Argentina, responded to a questionnaire. In line with the predictions, female-to-male transgender individuals experienced more jealousy than male-to-female transgender individuals in response to a physically dominant rival, whereas male-to-female individuals experienced more jealousy than female-to-male individuals in response to a physically attractive rival. Regardless of their gender identity, in both groups social-communal attributes were the most jealousy-evoking characteristic. Overall, the results indicate that transgender individuals mainly respond in line with their gender identity and not in line with their biological sex when facing romantic rivals. In addition, transgender individuals high in ISC experienced relatively more jealousy in response to all rival characteristics, whereas SCO was only among male-to-female individuals associated with jealousy.
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Pilipenko, Gleb P. "The Ukrainian Language in Argentina and Paraguay as an Identity Marker." Slovene 7, no. 1 (2018): 281–307. http://dx.doi.org/10.31168/2305-6754.2018.7.1.12.

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This paper discusses the function of the Ukrainian language in Argentina and Paraguay. Although there are studies that focus on describing the historical and ethnographic features of the Ukrainian diaspora in this region, there are no studies devoted to the analysis of speech. I collected oral narratives during a field study of Slavic communities in the region in 2015, and this allowed me to draw conclusions about the processes occurring in informants’ speech. I discovered that the Ukrainian language used by descendants of the first and second waves of migration, living in the province of Misiones in Argentina and in the department of Itapúa in Paraguay, retains the traits of the primary dialect system of the South-Western dialect group of Galicia (Halychyna). A large number of contact phenomena (borrowed lexemes, numerals, affirmative and negative particles, etc.) were recorded, as well as language strategies that typically accompany these phenomena. For example, reiteration strategy, metalinguistic comments, and hesitations in choosing suitable words were all present. The principle difficulty in the adoption of words borrowed from Spanish — particularly nouns — is gender affiliation. A characteristic common to all informants was the strategy of code-switching. An analysis of the functioning of toponyms revealed that place names preceded by prepositions remain indeclinable. Personal names remain an important identity marker for members of the Ukrainian diaspora and both Spanish and Ukrainian feature a distinction between onomastic spaces. The identity of speakers is also reflected in ethnonyms that have emerged in the new land of resettlement.
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Dissertations / Theses on the topic "Gender identity – Argentina"

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Medina, María Clara. "Landless women, powerful men : land, gender and identity in NW Argentina (Colalao-El Pichao, 1850-1910) /." Göteborg, 2002. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=013153551&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Novoa, Adriana Inés. "Unclaimed fright : race masculinity, and national identity in Argentina, 1850-1910 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9908494.

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Medina, Maria Clara. "Landless women, powerful men : land, gender, and identity in NW Argentina; (Colalao- El Pichao, 1850-1910) /." [S.l. : s.n.], 2002. http://swbplus.bsz-bw.de/bsz120668904inh.htm.

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Rodriguez, Gabriela Constanza. "Construction d’une identité argentine dans les paroles de tango : genèse et formes contemporaines." Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20081/document.

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En Argentine et à l’étranger, le tango inspire un engouement croissant depuis un peu plus de dix ans. Mais lorsqu’on fait référence au tango on omet souvent que l’on désigne en fait un ensemble complexe d’expressions artistiques populaires –musique, danse et paroles chantées– qui mettent en scène une identité argentine. Les identités sont en effet le résultat de constructions discursives –informées par les discours sociaux sur les rapports de classe, de race et de sexe- qui se manifestent et font l’objet d’une reformulation constante dans les objets culturels. L’objectif consiste à comprendre comment une identité est véhiculée dans le tango et à identifier les discours sociaux qui l’ont construite selon des modalités singulières en fonction des époques. Pour ce faire, nous travaillerons à partir du corpus des refrains et des strophes constitué par l’ethnologue Robert Lehmann-Nitsche dans son ouvrage Textos Eróticos del Río de la Plata, ainsi que à partir des paroles de tango publiées entre 1900 et 1935, période qui correspond à deux étapes fondamentales : la Guardia Vieja et la Guardia Nueva. L’étude de l’œuvre poétique du groupe Gotan Project et de l’œuvre picturale surréaliste du peintre argentin Juan Carlos Liberti compléteront notre corpus à partir des formes contemporaines.Dans le premier volet de l’étude, il s’agira d’analyser la définition institutionnelle du tango à partir de l’étude du discours des historiens cosignataires de la demande d’inscription du tango dans le répertoire des objets culturels faisant partie du patrimoine immatériel universel auprès de l’Unesco. Dans la deuxième partie, nous questionnerons les luttes symboliques au principe des périodisations à l’œuvre dans l’histoire du tango. Un retour sur les premiers tangos recueillis par Lehmann-Nitsche, dont les thématiques sont associées aux maisons closes, qualifiés de « préhistoriques », et de ce fait marginalisées par la critique, nous permettra de rétablir les origines populaires du tango
In Argentina and abroad, tango has known an increasing popularity over the last ten years. However, we often overlook the fact that tango is a term referring to a complex structure of popular artistic expressions, i.e. music, dancing and lyrics, forming an Argentinean identity. Indeed, identities are constantly shaped by relationships influenced by social classes, races and gender. Those discursive constructions offer a constant re-interpretation of cultural objects. The aim of our analysis consists in comprehending how an identity is reflected in tango and how to identify the social discourses which have built the tango along different periods and according to particular modalities. To answer to those questions, we will refer to the corpus of choruses and strophes constituted by the ethnologist Robert Lehmann-Nitsche in his book Textos Eroticos del Rio de la Plata as well as tango lyrics published between 1900 and 1935. This period corresponds to two stages of the evolution of tango referred to by musicians as the Guardia Vieja and the Guardia Nueva. The study of the poetic work of the Gotan Project group and of the pictorial work of the Argentinean surrealist painter Juan Carlos Liberti will complete our corpus of cultural objects of the contemporary era. In the first part of the study, we analyze the institutional definition of tango based on the study of the discourse of historians who signed the request to UNESCO for the inclusion of tango among cultural objects belonging to the universal immaterial heritage. In this part, we will shed light on the stakes associated to the definition of tango and expose our current critique on the subject. In the second part, we will question the symbolic struggles which are at the root of the different chapters making up tango’s history. A look back on the first tangos gathered by Lehmann-Nitsche—whose themes are brothels, qualified as ‘prehistoric’ and as such, marginalized by critics—will allow us to re-establish the popular origins of tango
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González, José. "Performatividad de la ficción en la novela argentina contemporánea : relaciones de género en Griselda Gambaro, Sylvia Molloy, Perla Suez." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20127/document.

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La performativité est une théorie qui a été développée de la théorie des actes de paroles (J.L. Austin), aux études anthropologiques (Victor Turner), jusqu’à être considérée comme un modèle épistémologique plus connu sous le nom de tournant performatif. La théorie performative est ainsi devenue une catégorie d’analyse qui cherche à étudier les phénomènes culturels en tant que représentations d’actes et de discours. C’est avec Judith Butler et les études performatives (Performative Studies) qu’elle a atteint son apogée comme outil fructueux pour l’étude des performances théâtrales. Cependant, son application aux phénomènes narratifs a été moindre et elle s’est à peine développée en tant que perspective qui favorise l’observation du genre comme performance dans le roman. À partir de la théorie de la performativité du genre (Butler) et des performances théâtrales considérées comme modificatrices des réalités des spectateurs, ce travail aspire, en premier lieu, à unir les deux concepts et à établir un cadre épistémologique qui permette d’organiser la performativité du genre dans le roman. Ainsi, nous utiliserons les concepts anti-essentialistes de Butler sur le sexe et le genre, le tabou, les livrets de genre et la parodie, puis les éléments propres à tout acte performatif décrits par Erika Fischer-Lichte dans sa théorie de la performance : l’imprévisibilité, la perception et l’ambivalence. Pour mettre en pratique cette théorie, nous avons utilisé un corpus de littérature contemporaine argentine composé des romans Ganarse la muerte de Griselda Gambaro, El común olvido de Sylvia Molloy et “Letargo” de Perla Suez. À travers les diverses stratégies narratives utilisées par ces écrivaines, nous entreprendrons de démontrer la manière dont se performe le genre dans le roman particulièrement à travers la figure du personnage
The concept of performativity has been developed by different approaches, ranging from speech act theory (J. L. Austin) to anthropological studies (Victor Turner), and has been considered an epistemological model known as “performative turn”. The performative theory has turned into an analytical category that aims to investigate cultural phenomena as a representation of acts and discourses, reaching its peak by gender studies as created by Judith Butler and the Performance Studies as a tool to analyze dramatic performances. However, its application to narrative phenomena has been scarce and there hardly exists any perspectives that would allow to consider gender as a performance within a novel.Based on the theory of gender performativity (Butler) and drama performance as modifiers of spectators’ realities, the present work aims in the first place to fuse both concepts and establish an epistemological framework that allows the analysis of gender performances in narrative fiction. Among these concepts the anti-essentialist ones by Butler about sex and gender, taboo, gender libretos and parody, stand out, as well as the elements of every performative act as depicted by Erika Fischer-Lichte in her theory on performance: unpredictability, perception and ambivalence.A corpus of contemporary Argentine literature was used to put into practice this theory. It consists of the novels Ganarse la muerte by Griselda Gambaro, El común olvido by Sylvia Molloy and “Letargo” by Perla Suez. The authors of these texts make use of a wide range of narrative strategies whose analysis will prove how gender is performed in novels
La performatividad ha sido desarrollada desde la teoría de los actos de habla (J. L. Austin) hasta los estudios antropológicos (Victor Turner) hasta considerarse un modelo epistemológico conocido como giro performativo. La teoría performativa se convirtió en una categoría de análisis que pretendía estudiar los fenómenos culturales como una representación de actos y discursos, cuyo desarrollo alcanzó su cima con los estudios de género de la mano de Judith Butler y con los estudios performativos (Performance studies) como una herramienta capaz de estudiar las performances teatrales. Sin embargo, su aplicación en los fenómenos narrativos ha sido escasa y apenas se ha desarrollado un enfoque que permita contemplar el género como performance en la novela.Partiendo de la teoría de la performatividad del género (Butler) y de las performances teatrales como modificadoras de las realidades de lxs espetadorxs, este trabajo pretende, en primer lugar, aunar ambos conceptos y establecer un marco epistemológico que permita analizar la performatividad del género en la ficción narrativa. Entre ellos destacan los conceptos antiesencialistas de Butler sobre el sexo y género, el tabú, los libretos de género y la parodia, así como los elementos propios de todo acto performativo descritos por Erika Fischer-Lichte en su teoría de la performance: la imprevisibilidad, percepción y ambivalencia.Para poner en práctica esta teoría se ha utilizado un corpus de literatura contemporánea argentina compuesto por las novelas Ganarse la muerte de Griselda Gambaro, El común olvido de Sylvia Molloy y “Letargo” de Perla Suez. Las autoras de estos textos hacen uso de una diversidad de estrategias narrativas a través de las cuales se pretende demostrar cómo se performa el género en la novela, prestando especial atención al personaje
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TOSSOUNIAN, Cecilia. "The body beautiful and the beauty of nation : representing gender and modernity (Buenos Aires 1918-1939)." Doctoral thesis, 2010. http://hdl.handle.net/1814/14981.

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Defence date: 14 October 2010
Examining Board: Prof. Giulia Calvi, EUI, supervisor; Prof. Sebastian Conrad, EUI; Prof. Victoria De Grazia, Columbia University; Prof. Rebecca Earle, Warwick University, external supervisor
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
This research focuses on the appearance of modern femininity in the mass media of Buenos Aires of the interwar period, showing the diverse range of meanings that the modern young woman phenomenon had in post-war Argentina. These diverse meanings were related to how male intellectuals, journalists, writers and filmmakers interpreted the changes in gender identities that characterised this period as well as their connection to the creation of a national identity for Argentina. In particular, by selecting images of modern femininities, I analyse how competing images of womanhood revealed anxieties associated with changing roles for women as well as how these images expressed the possibilities and dangers of modern life. I also study how different modern female figures reflected wider hopes, tensions and fears connected to the emergence of a modern nation and how these figures were both linked to and distinct from those that occurred elsewhere in the world. By focusing on key issues like consumption, mass culture, female fashion and sexuality, the broader scope of my inquiry is to study how the tensions and debates generated by modernity depended on and moulded gender notions in Buenos Aires.
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Torres, Rosa Maria. "El humor judío femenino argentino contemporáneo en la narrativa de Alicia Steimberg, Silvia Plager y Ana María Shúa." Thèse, 2013. http://hdl.handle.net/1866/11204.

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En la creación literaria latinoamericana del siglo XX, la narrativa de los autores judíos ha proseguido un trayecto aparte, casi silencioso, en relación con la escritura canónica del continente. No obstante, hacia los años setenta, surge una producción literaria judía femenina que hoy ha alcanzado un renombre internacional. Esta tesis estudia la peculiaridad literaria del humor judío femenino argentino contemporáneo en torno a la definición de la identidad y rol de género, para comprender cómo se resignifica la hibridez cultural en el texto literario. El humor como catarsis de conflictos problematiza la relación entre lo propio y lo ajeno mediante una puesta en tela de juicio de la realidad para manifestarse como una preocupación, una responsabilidad y un compromiso crítico. A través del análisis de las obras de Alicia Steimberg, Silvia Plager y Ana María Shúa, la investigación reconfigura la vida judía diaspórica y el sentido de ser mujer respecto a la importancia del ámbito culinario en cuanto al influjo de la modernidad argentina en la tradición judía. En este estudio, se analizarán las novelas Músicos y relojeros, Como papas para varenikes y Risas y emociones de la cocina judía donde las diferentes reflexiones de Steimberg, Plager y Shúa en relación con la historia judía elaboran discursos con singulares diferencias en la intención humorística. En la primera parte de la tesis, se hará mención de diversas perspectivas teóricas que destacan las implicaciones psicológicas, sociales y psicoanalíticas respecto al humor en general, el humor de la minoría, el humor femenino y el humor judío. En los tres capítulos subsiguientes, se procederá a una lectura de los textos antes mencionados para interpretar las preocupaciones de nuestro tema frente a los dictámenes que la religión y sociedad desean imponer. Finalmente, la conclusión aborda la evolución de una visión entre humor negro, humor como crítica social y humor como lúdico juego en paralelo con una búsqueda de la identidad híbrida actualizada mediante una crítica de lo tradicional.
Dans la création littéraire latino-américaine du xx siècle, les récits des auteurs juifs ont poursuivi une trajectoire isolée, presque silencieuse, par rapport à l’écriture canonique du continent. Cependant, aux environs des années soixante-dix surgit une production littéraire juive féminine que de nos jours a atteint une renommée internationale. Cette thèse étudie la spécificité littéraire de l’humour juif féminin contemporain autour de la définition de l’identité et le rôle de genre afin de comprendre comment se résignifie l’hybridité culturelle dans le texte littéraire. L’humour comme catharsis de conflits problématise la relation entre le soi et l’autrui à travers un jugement de la réalité afin de se manifester comme une préoccupation, une responsabilité et un compromis critique. L’analyse des œuvres d’Alicia Steimberg, Silvia Plager et Ana María Shúa reconfigure la vie juive diasporique et le sens de l’univers féminin à travers l’importance du domaine culinaire ainsi que l’influence de la modernité argentine dans la tradition juive. Cette étude analyse les romans Músicos y relojeros, Como papas para varenikes et l’œuvre Risas y emociones de la cocina judía où les réflexions de Steimberg, Plager et Shúa élaborent des discours en relation avec l’histoire juive avec différentes intentions humoristiques. Dans la première partie de cette thèse, on étudie diverses perspectives théoriques qui soulignent les implications psychologiques, sociales et psychanalytiques de l’humour en général, l’humour de la minorité, l’humour féminin et l’humour juif. Dans les trois chapitres suivants, on procède à une lecture des textes mentionnés ci-haut afin d’interpréter les préoccupations de nôtre sujet de recherche par rapport aux règles que la religion et la société désirent imposer. Finalement, la conclusion aborde l’évolution d’une vision entre l’humour noir, l’humour comme critique sociale et l’humour comme jeu ludique en parallèle d’une recherche de l’identité hybride actuelle à travers une critique du traditionnel.
In the Latin American literary creation of the twentieth century, the fictions of Jewish authors have pursued a secluded trajectory, almost silent, compared to the continent canonical writing. However, around the seventies came a female Jewish literary production that has achieved international fame. This thesis examines the literary specificity of contemporary female Jewish humour around the definition of identity and the role of gender in order to understand the cultural hybridity representation in the literary text. Humour as catharsis of conflicts analyzes the relationship between the self and others, through a judgment of reality to manifest as a concern, responsibility and a critical compromise. The analysis of the fictions of Alicia Stemberg, Silvia Plager and Ana María Shúa reconfigure the Jewish Diasporas and the meaning of the feminine universe through the importance of the culinary field as well as the influence of Argentine modernity in Jewish tradition. This study analyzes the novels Músicos y relojeros, Como para varenikes and the short histories Risas emociones the cocina judía where Steimberg, Plager and Shúa describe the Jewish history with different humorous intentions. In the first part of this thesis, various theoretical perspectives that emphasize the psychological, social and psychoanalytic implications of humour in general, minority humour, female humour and Jewish humour are studied. In the following three chapters, we proceed to a reading of the texts mentioned above in order to interpret the concerns of our research from the rules that religion and society impose. Finally, the conclusion discusses the evolution of a vision between black humour, humour as a social critique and humour as a playful game as a search of the hybrid identity through a critique of traditions.
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Books on the topic "Gender identity – Argentina"

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1944-, Martínez Roberto Luis, ed. Mujeres: La lucha por la igualdad de género en la Argentina. Avellaneda: De la Cultura Urbana, 2015.

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D'Antonio, Débora C. Deseo y represión: Sexualidad, género y Estado en la historia Argentina reciente. Buenos Aires: Imago Mundi, 2015.

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Toriano, Carmen. (Re)leer literatura argentina y latinoamericana: Cultura, sociedad y género. Mendoza, Argentina: EDIUNC, 2018.

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Beuter, María Rosa Lojo de, and Michèle Soriano. Identidad y narración en carne viva: Cuerpo, género y espacio en la novela Argentina, 1980-2010. [Argentina]: Ediciones Universidad del Salvador, 2010.

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Confronting the 'Dirty War' in Argentine cinema, 1983-1993: Memory and gender in historical representations. Woodbridge, Suffolk, UK: Tamesis, 2009.

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Gendered spaces in Argentine women's literature. New York: Palgrave Macmillan, 2012.

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Género y sexualidad en la policía bonaerense. San Martín, Provincia de Buenos Aires: UNSAM Edita, 2014.

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Argentine, Mexican, and Guatemalan photography: Feminist, queer, and post-masculinist perspectives. Austin: University of Texas Press, 2014.

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Saikin, Magali. Tango y género: Identidades y roles sexuales en el tango argentino. Stuttgart: Abrazos Books, 2004.

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10

Burucúa, Constanza. Confronting the 'Dirty War' in Argentine cinema, 1983-1993: Memory and gender in historical representations. Woodbridge, Suffolk, UK: Tamesis, 2009.

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Book chapters on the topic "Gender identity – Argentina"

1

Neer, Anahí Farji. ""The law is not going to tell us how to care for the patient." - Health Professionals and the Argentine Gender Identity Act." In Trans Health, 27–42. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839450826-003.

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Somoza, Mari-Sol García, and Mayra Soledad Valcarcel. "Muslim women in contemporary Argentina." In Women and Religion, 135–56. Policy Press, 2018. http://dx.doi.org/10.1332/policypress/9781447336358.003.0008.

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This chapter looks at the discourses, practices, identity constructions, performance, and modes of socialization among Muslim women in contemporary Argentinean society. The main aim is to understand and explain the process of identity building among women professing Islam in Argentina by analysing the ways they articulate and reconstruct their different loci of identity belongings — sex/gender, as well as Arab, Argentinean, and Muslim identities. The chapter delves into the specific modes of religious identity building in Muslim women through the development of careers, enabling comparisons to be drawn between the religious careers of women occupying different positions in the social field. It also describe how Muslim women experience and externalize their religiosity and religious identity, while paying attention to the different types of female agency and the relation they establish between their reinterpretation of Islamic principles.
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Tossounian, Cecilia. "The Flapper and the Joven Moderna." In La Joven Moderna in Interwar Argentina, 33–52. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401162.003.0003.

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Chapter 2 studies how the flapper, the archetypical modern girl, was construed by popular culture in the 1920s and 1930s. Mass media was engaged in a debate about the defining traits of the American flapper and her Argentine counterpart. While the flapper inhabited a distant land, the joven moderna combined popular fashions and mannerisms both foreign and domestic. Portrayed as an upper-class character, she went beyond the traditional female role of the devoted daughter. An oversimplified media construction, the Argentine flapper alerted the public of the dangerous effects of international consumer capitalism and Americanization on gender and national identity.
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"The Politics and Medical Discourse of Intersexuality in Argentina through Film." In Healthcare in Latin America, edited by David S. Dalton and Douglas J. Weatherford, 296–308. University Press of Florida, 2022. http://dx.doi.org/10.5744/florida/9781683402619.003.0018.

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Javier Barroso analyses how Argentine film XXY (Lucía Puenzo, 2007) at once denounces and perpetuates discourses that oppose the acceptance of LGBTQ identity, intersexuality, and gender fluidity. XXY tells the story of Alex, a troubled intersex teenager who was raised as a girl and is trying to establish her identity as she comes of age. According to Barroso, XXY explicitly and allegorically challenges current medical and social discourses regarding “corrective” surgeries that are still based on ideas first posited in the 1950s. However, an analysis of the representation of two main characters and key scenes in the film demonstrates that XXY is challenging compulsory “sex confirmation” surgeries at the same time that it is, perhaps unintentionally, reinforcing and perpetuating binaries that continue to permeate societal views and understandings of sex and gender.
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Crolla, Adriana Crolla. "Género e inmigración en la Pampa Gringa argentina." In America: il racconto di un continente | América: el relato de un continente. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-319-9/039.

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Traditions as configurative forces both select and discriminate reference parameters. As so does it happen inside a given culture, where they pre-configure a present time that allows for the recovery and re-signification of meanings and operating practices. The migration process in Argentina has been treated and studied from the ‘porteña’ metropolis stance, subsuming thus a variety and plurality of manifestations and traits yet visible in the amplified territory of Argentina into a uniform whole. A case in point is what happened in the Pampa Gringa. A similar situation is found when we attempt to analyse from a gender angle women writers who, from their immigrant-being or immigrant descendent identity, try to combine and antagonise the selective traditions from this experiences and tensions; or in settings where characters still enrolled in masculine words are revisited and surprise out of the actuality of their proposal. Hence, this paper propose carrying out a succinct analysis of the above-mentioned selective operations and tries to expose as of the fictional and critical some examples to argue said forgot facts.
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Wells, Sarah Ann. "Lugones, Leopoldo (1874–1938)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem1981-1.

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The author of short stories, novels, essays, and journalism, Leopoldo Lugones is best known as Argentina’s most famous modernista writer, with several volumes of influential and highly varied poetry that ultimately led to an exhaustion of modernista verse. His other major contributions to Argentine literature include to the genre of fantastic fiction and his essays on Argentine identity and literary history. In the latter, he located the marginalized figure of the gaucho as a romantic origin for a national culture. Lugones’ legacy has been marked by the increasingly nationalist-fascist bent of his poetry and essays, beginning in the 1920s. However, the legacy of his earlier, audacious poetic experiments on the future poetic movements of the avant-gardes persist.
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Giraldo, Liliana, Valeria Fink, Florencia Cahn, Inés Aristegui, Betiana Caceres, Omar Sued, and Carina Cesar. "Design and Development of an Electronic Health Record According to Argentine Gender Identity Law." In MEDINFO 2021: One World, One Health – Global Partnership for Digital Innovation. IOS Press, 2022. http://dx.doi.org/10.3233/shti220235.

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Health information systems face the challenge of collecting data on patients’ gender identity. The absence of this information may lead the patients to situations of vulnerability and discrimination. The objective of this study is to describe the process of designing and developing an Electronic Health Record according to the Argentine Gender Identity Law. This health record allows clinics to record legal names and surnames, other social names, gender identity, sex at birth, and legal sex.
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Rocha, Carolina. "Santos Vega." In Argentine Cinema and National Identity (1966-1976). Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940544.003.0008.

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I provide an overview and analysis of Santos Vega, a less successful film that nonetheless belongs to the gauchesque genre. I propose that its innovation revolves around the use of songs to stress the film’s message.
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Rocha, Carolina. "Conclusion." In Argentine Cinema and National Identity (1966-1976). Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940544.003.0015.

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I summarize the challenges of post-Peronists governments— mostly military authorities—to shape national cultural while also attempting to modernize the country. I showed that cinema was understood as a fundamental medium to disseminate national identity and thus, was highly protected through different laws. Although encouraged to produce quality box-office success, filmmakers explored different themes and techniques. Only in the late 1960s two genres—the historical and gauchesque— crystalized those efforts by thoroughly engaging with the national past. By so doing, they contributed to making quality films that touched on national identity.
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10

"Le roman naturaliste argentin, mémoire d’une fin de siècle et de la recherche faussée d’une identité culturelle." In Genres as Repositories of Cultural Memory, 103–14. BRILL, 2000. http://dx.doi.org/10.1163/9789004488878_014.

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