Autor/es
Descripción
ver mas
Colaborador
Kaufman, Alejandro
Spatial Coverage
Temporal Coverage
1946-1955
Idioma
spa
Extent
81 p.
Derechos
info:eu-repo/semantics/openAccess
Atribución-NoComercial-SinDerivadas 2.0 Genérica (CC BY-NC-ND 2.0)
Formato
application/pdf
Identificador
Cobertura
ARG
1946-1955
Abstract
This thesis is aimed to the study of communication and political commitment of the Peronist state during his first two terms of government during the period 1946-1955. Its main goal is to explore the semantization of politics through the symbolic production propaganda of such political movement in the state power embodied in the production of posters that under different names became known as the Undersecretary of Information, Press and Propaganda (SIPP in spanish).
We understand that the field of political propaganda and specifically the graphic production was a field in which a set of relations of forces which showed a decisive and conflicting historical episode in terms of distribution hierarchies and capabilities in Argentina was aestheticised. With the analysis of the posters, as part of the propaganda effort of the whole Peronist state, we want to approach that particular topography of actors, partners and voices.
The study of propaganda and iconology becomes itself a relevant proposal as a mechanism of symbolic and cultural reproduction of direct political implications and aesthetic mounted on the communicational power of cultural industries associated with the state apparatus.
To achieve our goal we have analyzed a corpus of posters belonging -mostly- to the acquis of the Photographic Archive of the Intermediate Archive of the Archive General Archive of the Nation.
The central hypothesis behind our thesis is: we understand that from its graphic and iconic production the political movement that here we are dealing used the semantics and meant joining the public agenda of broad sectors of the population displaced until that time or not included on the political scene. Thus, the aesthetic-political operation that was operated through propaganda posters used by the Peronism meant taking a political stance, a commitment to certain groups, and at the same time it was a tool for generating adhesion to the movement seeking to create ties identification with such groups. This strategy did appear on stage various conflicts and cleavages, and political actors and subjects related to them, loading them as they advanced in key dispute on social actors, speeches and beliefs that prevailed until then.
We understand that the field of political propaganda and specifically the graphic production was a field in which a set of relations of forces which showed a decisive and conflicting historical episode in terms of distribution hierarchies and capabilities in Argentina was aestheticised. With the analysis of the posters, as part of the propaganda effort of the whole Peronist state, we want to approach that particular topography of actors, partners and voices.
The study of propaganda and iconology becomes itself a relevant proposal as a mechanism of symbolic and cultural reproduction of direct political implications and aesthetic mounted on the communicational power of cultural industries associated with the state apparatus.
To achieve our goal we have analyzed a corpus of posters belonging -mostly- to the acquis of the Photographic Archive of the Intermediate Archive of the Archive General Archive of the Nation.
The central hypothesis behind our thesis is: we understand that from its graphic and iconic production the political movement that here we are dealing used the semantics and meant joining the public agenda of broad sectors of the population displaced until that time or not included on the political scene. Thus, the aesthetic-political operation that was operated through propaganda posters used by the Peronism meant taking a political stance, a commitment to certain groups, and at the same time it was a tool for generating adhesion to the movement seeking to create ties identification with such groups. This strategy did appear on stage various conflicts and cleavages, and political actors and subjects related to them, loading them as they advanced in key dispute on social actors, speeches and beliefs that prevailed until then.
Título obtenido
Magister de la Universidad de Buenos Aires en Comunicación y Cultura
Institución otorgante
Universidad de Buenos Aires. Facultad de Ciencias Sociales