Atocha 55 en transición: imágenes y relatos. Una aproximación desde la estética y los estudios del perpetrador
- Autores: Lurdes Valls Crespo
- Directores de la Tesis: Vicente Sánchez Biosca (dir. tes.), Anacleto Ferrer Mas (codir. tes.)
- Lectura: En la Universitat de València ( España ) en 2024
- Idioma: español
- Número de páginas: 407
- Tribunal Calificador de la Tesis: Vicente José Benet Ferrando (presid.), Fernando José Infante del Rosal (secret.), Sarah Louise Thomas (voc.)
- Programa de doctorado: Programa de Doctorado en Pensamiento Filosófico Contemporáneo por la Universitat de València (Estudi General)
- Materias:
- Enlaces
- Tesis en acceso abierto en: RODERIC
- Resumen
On the night of January 24, 1977, an extreme right wing commando group attacked the labor law office at 55 Atocha Street in Madrid. The outcome of this terrorist attack, perpetrated for "patriotic reasons" according to the statements made during the trial of those charged with the crime, was five dead and four seriously injured. This terrorist attack was understood, from its immediate present, as the climax of the so called semana negra ("Black Week") of the Spanish transition. The seven days between Sunday 23 and Saturday 29, January 1977, were the most convulsive of the early stage of the Spanish transition and marked a turning point, a point of no return, in the unfolding of the political change process that the country was experiencing.
Our research addresses this episode, from the framework of aesthetics and perpetrator studies, considering it as a "perpetration event". As outlined in the methodological framework of this research and as we aim to demonstrate throughout this Ph.D. thesis, understanding the terrorist attack against the labor lawyers as a "perpetration event" involves drawing an inseparable relationship between the event and its narrativization devices, understood as the means of constructing and reconstructing the event. From this perspective, this dissertation studies the process of shaping the event through a genealogical analysis of its cultural artifacts, namely, its images and stories, to explore the continuities and changes, the latencies, absences, and purposes that have characterized the memorialization process of the attack, that is, its shaping process as a perpetration event, from its occurrence to the present day.
For this purpose, we adopted a multidimensional approach that integrates three crucial aspects: the "what" of the equation, namely, the agents and the patients of the perpetration and the very process in which their actions are embedded; the "how" of the equation, that is, the means, the artifacts understood as devices for the narrativization of the event; and the "why" of the equation, namely, the goal, the purposes pursued by each new emergence, each new representation. This methodological approach has allowed us to identify three distinct phases or stages in the shaping process of the event. This phase stratification explains, in turn, the layout and the expository framework of our work which, in addition to the methodological chapter, contains three analysis chapters that correspond to each of these phases.
The goal pursued by this sequencing is to demonstrate how the evolution of the narrativization process of this terrorist attack has occurred at three interrelated levels: from the perpetrator to the victim, from images to stories, and from para-judicialization to pedagogical commemoration.
