Die Bilder gingen um die Welt: Im Sportstadion von Santiago, dem Estadio Chile, hielten die Militärs nach dem Putsch 1973 Tausende von Menschen gefangen, von denen viele brutal gefoltert und hingerichtet wurden. Unter ihnen der Sänger und Liedermacher Victor Jara. Zum Gedenken wurde das Stadium nun nach ihm benannt. Jara gelangte vor allem durch seine revolutionären Lieder während der Regierung Allendes zu Popularität. (Lat.am Nachr/DÜI)
Abstract This article examines Lisbon's National Stadium (opened in 1944, amidst strong expressions of nationalistic pride) in the light of Pierre Nora's concept of lieux de mémoire, while taking issue with his (and others') insistence on the primacy of national identity. A flexible use of the stadium, not as a fixed monument, but rather as a blank canvas onto which successive generations of football fans have imposed their varying memories and subjective identities (examined through press reports and other contemporary sources), enables the site to retain its place in the popular imagination, in spite of its past political associations.
The Chilean documentary Estadio Nacional (Carmen Luz Parot, 2001) conflates present and past by testifying, through different voices and images, to the National Stadium's conversion into a concentration camp immediately after the September 11, 1973, coup d'etat. Analysis of the way in which the stadium is critically revisited by victims of the dictatorship who were tortured there calls attention to the importance of the representation of space as a sort of archaeological work of memory that allows victims both to work through their traumatic experiences and to denounce the atrocities committed by their captors. In this sense, the film can be seen as a simulacrum of a pending judicial investigation in that it turns the public into a witness of this unfinished trial. [Reprinted by permission of Sage Publications Inc., copyright holder.]
La historia del Estadio San Marcos de la Universidad San Marcos de Lima es pretexto para estudiar sus precarias relaciones con el Estado en contextos de autoritarismo y clientelismo. El estadio, planeado al principio para ser el mayor coliseo deportivo de Perú, se convirtió con la donación del dictador Manuel Odría a la Universidad, en espacio de su futura ciudad universitaria. Señalamos que esta donación se hizo cuando el estadio no había sido concluido porque le resultaba demasiado oneroso al Estado. La Universidad al recibir el estadio en estas condiciones evidenció entonces su precaria situación de dependencia al poder político ; The history of San Marcos Stadium from San Marcos University in Lima is an excuse to study its meager relationships with the State in authoritarian and political clientelism contexts. Dictator Manuel Odría donation turned the Stadium into the area of its future university campus although it was originally conceived to be the biggest sport coliseum of Peru. We point out that this donation was made when the government could no longer afford the stadium construction expenses. Accepting the stadium in such conditions showed the precarious situation of the university toward political power.
Esse trabalho pretende analisar a patrimonialização contemporânea em São Paulo ao estudar diretrizes de intervenções num bem tombado a partir de um olhar antropológico, entendendo como objeto de estudo o projeto arquitetônico aprovado para a concessão no complexo do Estádio Municipal Paulo Machado de Carvalho e em seu Centro Poliesportivo. Para tal, discutiremos a relação das proposições arquitetônicas dentro do campo de saber específico do restauro e do patrimônio cultural material, além de considerar as práticas culturais historicizadas que envolvem o local enquanto estádio de futebol, pensando qual a produção de espaço patrimonializado que se desenha num contexto de disputa de um local da cidade.
La historia del Estadio San Marcos de la Universidad San Marcos de Lima es pretexto para estudiar sus precarias relaciones con el Estado en contextos de autoritarismo y clientelismo. El estadio, planeado al principio para ser el mayor coliseo deportivo de Perú, se convirtió con la donación del dictador Manuel Odría a la Universidad, en espacio de su futura ciudad universitaria. Señalamos que esta donación se hizo cuando el estadio no había sido concluido porque le resultaba demasiado oneroso al Estado. La Universidad al recibir el estadio en estas condiciones evidenció entonces su precaria situación de dependencia al poder político. Palabras claves: estadio, universidad, gobierno, educación pública, autoridad. The history of San Marcos Stadium from San Marcos University in Lima is an excuse to study its meager relationships with the State in authoritarian and political clientelism contexts. Dictator Manuel Odría donation turned the Stadium into the area of its future university campus although it was originally conceived to be the biggest sport coliseum of Peru. We point out that this donation was made when the government could no longer afford the stadium construction expenses. Accepting the stadium in such conditions showed the precarious situation of the university toward political power. Key words: stadium, university, government, higher education, authority.
O artigo parte de pesquisas de campo realizadas ao longo de 2017 e dos primeiros meses de 2018, no Estádio Almeidão, em João Pessoa, em meio à torcida do Botafogo da Paraíba. Em diferentes incursões, todas feitas em jogos oficiais do clube em questão, o que se percebeu foi um ambiente predominante de homens, heterossexuais, cuja masculinidade é sempre reforçada como aspecto positivo e como parte definidora de sua identidade. Ao mesmo tempo, o uso de xingamentos homofóbicos serve para marcar o clube e a torcida rival, como seres que merecem ser menosprezados, atacados ou combatidos. Isso provoca, mesmo que às vezes de forma inconsciente, um ambiente hostil para mulheres e para homossexuais da própria torcida botafoguense, que também se fazem presentes ao estádio. O objetivo aqui, pois, é entender como os marcadores sociais da diferença interferem nas relações entre os torcedores e reforça uma violência simbólica contra determinados grupos.
"El estadio y la palabra: Deporte y literatura en la Edad de Plata" (The Stadium and the Word: Sports and Literature in Spain's Silver Age) analyzes how in early twentieth-century Spain the concurrent modernization of the nation and the professionalization of sports are mirrored in the country's literature (particularly, in essays, fiction and poetry). I conclude that authors understood sports as a social institution that went beyond leisure activity. In their perception, sports fit into larger concepts of social relationships, engaging with history, nationhood and citizens of different classes and genders. My introduction outlines the early history of sports in Spain and summarizes the major subthemes of the thesis--Spain and modernity, the rise of new social classes, nationalistic reactions to foreign influences, the establishment of sports journalism, and the changing position of women in a modernizing society. The first chapter discusses the reaction to the new sports phenomenon on the part of intellectuals such as Miguel de Unamuno, Gregorio Marañón, José Ortega y Gasset, Antonio Machado, Ernesto Giménez Caballero, among others. For example, by the 1920s, soccer grew exponentially and began to rival bullfighting as Spain's most influential form of mass entertainment; thus one of the issues these thinkers debated was the new role of mass spectatorship. As spectator sports moved to the forefront of Spanish consciousness in the early twentieth century, major and minor literary figures turned to sport as a way of comprehending some of the radical changes occurring in Spanish life. These reactions formed part of the dialogue about Spain's prospects as a nation in the modern world that had begun in the latter half of the nineteenth century, spawning works of narrative fiction by Wenceslao Fernández Flórez, Juan Antonio de Zunzunegui, and Antonio de Hoyos y Vinent analyzed in chapter two. Sports journalism, which garnered an increasing role in the periodical press, forms the heart of the third chapter that considers the interaction between the sports chronicle and key novels and stories by José Luis Bugallal, Francisco Ayala, José Díaz Fernández, and Rafael Lopez de Haro. The styles of these fictional works, which ranges from more traditional realism to avant-garde metaphoric prose, reflects the tension between modernity and tradition that Spain as a nation was experiencing. Chapter four recognizes the new public profile that modern Spanish women were assuming and addresses the figure of the sportswoman and the female sports spectator as characters in novels and objects of poetic contemplation, often rendered in vanguard in style, by both men and women. The essay Plenitud by former tennis star Lilí Álvarez introduces the chapter and some of its central themes--sports as means of achieving female emancipation and sports as a leisure activity for people of all ages and genders. The dissertation's epilogue summarizes the historical background and some of the literary and filmic manifestations of sports during the Franco dictatorship (1939-1975) and the democratic era (1975-present). The debates over the nature and importance of sports to the Spanish nation reflect the social, political and cultural evolution of the country from 1898 to 1936 and beyond.
