Resumen
Throughout the years the widespread myth of the Andean man as
an abject or servile subject has expressed itself in Peru through a variety
of semiotic practices that evidence the deep colonial wounds that remain
open (and bleeding). The colonial shadow raises as a ubiquitous presence
around which all other social processes seem to revolve. Given the dialectic
between the subjects who are not acknowledged as inhabitants of a given
location, who at the same time inhabit a dislocated body (in many occasions denying their indigenous ancestry), everyday interactions are
schemed by a series of meetings and misunderstandings, that manifest the
many different worlds that coexist in this country, at times colliding against
each other and at times ignoring each other.
Nevertheless, since the beginning of the new millennium -and due in
great part to an economic and gastronomic boom- Peru is experiencing a
revaluation of what is to be Peruvian. These new airs seem to be reforming
the myth of the Andean man, freeing the significant being Peruvian from its
derogatory meaning. From the depths of this intoxicating discourse, a group
of Peruvian artists have -perhaps inadvertently- adhered to this narrative:
even though their artistic proposals aim to be tolerant, their bodies of work
end up reaffirming the myth of the Andean man.
Thus, this research aims to unveil the ways in which the myth of the
Andean man reinvents itself -always from the same mythological seedthrough the work of three Peruvian photographers (Martin Chambi, Mario
Testino and Morgana Vargas Llosa). To demonstrate our hypothesis we’ll go
beyond Barthes’ propositions on the myth, and focus on the division of the
myth into the mythical and the mythological, in order to finally essay an
answer based on the semiotic practices.
Idioma original | Español (México) |
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Título de la publicación alojada | ¿Una imagen y nada más?: Chambi, Testino, Vargas Llosa y el mito de lo andino |
Estado | Publicada - 2016 |