Ideas, letras, artes en la Crisis 1973-1987: Intelectuales, política y cultura antes y después de la última dictadura militar argentina
Keywords:
Intelectuales Periodismo Crisis Cultura-políticaAbstract
El objetivo general este artículo es analizar las condiciones de aparición, desarrollo y consolidación de la revista Crisis como proyecto cultural. Para ello el texto se propone abordar la trayectoria total de la revista dividida en dos diferentes épocas. Su primera etapa: de mayo de 1973 a agosto de 1976. Y la segunda: de abril de 1986 a junio de 1987. Como objetivos específicos el texto persigue, primero, caracterizar su identidad política e ideológica, analizar su estrategia de intervención pública, así como el ejercicio de revisión crítica de los iconos políticos y culturales consagrados por la historiografía liberal. En segundo lugar, el texto se propone precisar si hubo o no desde el colectivo editor una postura hegemónica respecto a cuál debía ser el rol o función social de los intelectuales. Y en tercer término, analizar el impacto que tuvo en el devenir, la composición y discurso de Crisis, tanto el Terrorismo de Estado, como el cambio de paradigma que significo el proceso transicional a la democracia durante la década de 1980.
El artículo busca comprobar que Crisis fue una de las más exitosas revistas político-culturales que se editó en Argentina durante la segunda mitad del Siglo XX. Si bien su trayectoria fue interrumpida por la última dictadura militar (1976-1983) y una violencia que operó un profundo cambio, no sólo en su staff sino también en las condiciones de recepción del público a la que se dirigía, el proyecto en sus dos ciclos -de mayo de 1973 a agosto de 1976 primero; y de abril de 1986 a junio de 1987 después-; mantuvo su perfil de izquierda, latinoamericanista, anti-imperialista, nacional y popular. De hecho, creemos que su esencia ideológica no sólo marcó su línea editorial sino también su impronta estética, a través de la cual buscó consagrar la idea de la liberación mediante la transformación radical de las condiciones de opresión política-económica y cultural que, a su juicio, imponía el capitalismo.
Sostenemos, asimismo, que Crisis fue una revista que se propuso tensionar deliberadamente los campos de la literatura y la política a través de la revisión crítica y cuestionamiento de los íconos culturales de la élite tradicional. Para ello, en su primera etapa, se dio una estrategia de intervención que suponía revelar y denunciar la trama oculta del proceso de construcción histórica del poder establecido. En cuanto al oficio literario, específicamente, hubo tres interrogantes que la atravesaron a lo largo de toda su existencia: ¿cuál debe ser el rol o función social del intelectual? ¿Debe el intelectual mantenerse al margen de las preocupaciones políticas? ¿Debe la obra literaria comprometerse con la transformación revolucionaria de la sociedad? Desde nuestro punto de vista, estas preguntas sirvieron para desatar la reflexión y el debate alrededor de las dos grandes imágenes que genéricamente ligaban el mundo de la cultura con el de la política: la pivotante construcción imaginaria del intelectual crítico en clave sartreana, frente a la auto-representación del intelectual orgánico en clave gramsciana.
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