ARQ ISSN: 0716-0852 [email protected] Pontificia Universidad Católica de Chile

Celedón, Alejandra; García de Cortázar, Gabriela Margarita ARQ, núm. 95, abril, 2017, pp. 126-139 Pontificia Universidad Católica de Chile , Chile

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FIG 1 Margarita Pisano ala ej ndra celedón Fischer. Fuente / Profesora Adjunta, Pontificia Universidad Source Casa de la Mujer Margarita Pisano Católica de Chile, Santiago, Chile

gabri ela garcía de cortázar Profesora Adjunta, Pontificia Universidad Católica de Chile, Santiago, Chile

The concept of ‘moral referent’ speaks of the people whose coherence – the virtuous relationship between discourse and action – turns them into true embodiments of a thought or idea. During her lifetime, the architect Keywords Margarita Pisano became the moral referent of feminism in Chile. The Women changes in her life, permanently linked Activism to actual architectural spaces but always Houses Chile tending towards feminist activism, are brilliantly narrated in this text. O both sheltered and were radically altered by her. by altered radically were and sheltered both homes these as practice and life her into insight provide re-made and created designed, inhabited, Margarita that houses The life. intimate and politics vocation, of terms in Chile, her personal conflicts involved extreme transitions the already troubled second half of twentieth century not only extreme in geographical terms: accompanying however, was journey, life Her exceptional. but nothing was America, Latin and Chile in both figure apublic as presence her to Chile of part southernmost the in birth her from life, whose Pisano, Margarita of biography the displayed These hung. were notes hand-written and cards was criss-crossed by clotheslines where photographs, courtyard inner the afternoon, spring asunny on doors its opened house the When homage. biographical and celebration, and so the gathering was both a political birthday posthumous first the was this before, year the passing her Since after. named is house the who leader feminist radical Chilean architect turned little-known (fig. 1), the Pisano Margarita was festivity the of subject The change. aneeded of urgency the around gather to women for aspace Pisano, Margarita Mujer la de Casa approach in the early eighties, departing from second- own her develop to started She proposal. feminist Margarita’s for radical understanding fundamental nurtured. and raised be could consciousness where own their of aspace from them, critically question the social structuressurrounding interior, women could finally allow themselves to asafeguarded within contained space public political Mujer, a la de Casa From the not. could appearances, world whereas women, in their all-too-fleetingpublic street, universities). From there, men could think the bar, stadium, club, party, church, square, (public power with associated those owned men schools), and hospitals transient (markets, shopping centers, waiting rooms in always were places public used most women’s if women: with associated historically spaces the of terms in change aprofound marks It 2009:119). &Franulic, (Pisano academia” outside from originally built knowledge, and history women’s to continuity give and know to get (...), [and] autonomously world the think “organize, can women where change,” civilization (fig. 2) for . A“space space apublic is Mujer la de Casa the shelters, it things of kind the by and nomenclature by ahome Although Santiago) Bellavista, 93, Donoso (Salvador Pisano Margarita mujer la de Casa The house is an outside, and this contradiction is is contradiction this and outside, an is house The Santiago, Chile. It was the inauguration of the the of inauguration the was It Chile. Santiago, in celebrated feminists 2016, 29, October n

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FIG 2 Casa de la Mujer wave difference (or cultural) feminism. The notion of an Margarita Pisano ‘outside’ contained inside the Casa de la Mujer, meant Fuente / Source Fotograma video / Video challenging not only institutional feminism, but also frame Casa de la Mujer politics understood as party politics, feminism as part Margarita Pisano. of academia, and the feminist response to oppression Disponible en / Available at https:// as one of resistance (Pisano & Franulic, 2009). Her www.youtube.com/ proposal was for an ‘enacted’ feminism, rather than a watch?v=OThLel7EXc0 militant one, autonomous instead of institutional, which promoted rebellion instead of opposition. It was also FIG 3 Casa La Morada a critique of the models that permeated her personal Fuente / Source Fondo La life: she advocated for getting rid of the ‘good trees’ Morada. Archivo Mujeres y Géneros, dibam of marriage, family and children, which made intimacy unable to be reconciled with complete emancipation. She promoted a ‘change of desires’ rather than a ‘desire for change’ (Pisano, 1995), questioning cultural institutions from their onset, as they simply perpetuated the de-humanization of women within the masculine paradigm (Pisano, 2004). The Casa de la Mujer Margarita Pisano is then not only a welcoming place for women, but a challenging one that asks for the most radical act of dispossession. It is also a posthumous iteration of a previous Casa de la Mujer, one that stood only a few blocks away and a mere couple of decades back.

Casa de la mujer La Morada (Bellavista 0457, Santiago) During the eighties, in times of the Pinochet dictatorship, women gathered in La Morada, which initially was the headquarters of the Círculo de Estudios de la Mujer (Circle for Women Studies), a group primarily composed of academics, very few of which actually called themselves feminists at the time (fig. 3). Julieta Kirkwood, the most notable Chilean feminist intellectual of the second half of the twentieth century, invited Margarita here,1 although she came from a totally different background: “coming from the world of art, especially architecture, was difficult: I didn’t know how to make sociological research, nor historical, even less anthropological. The Circle was on a second floor of a house in Bellavista (fig. 4). I got there and went up and 128 had the feeling that I was falling down. At the same time, transformative drive did not allow her to quit. to her allow not did drive transformative her, Margarita’s rejected house the felt she Even if 2009:35). &Franulic, (Pisano day” every upstairs climbed I stubbornly, so, there me for something was there I felt regular evening meetings that were called ‘ called were that meetings evening regular Mondays,’ ‘Open of form the took space gathering this so: more even was realized was it which in way the architectural, already was response that If 2009:38). &Franulic, (Pisano direction anew for preparation in welcomed be could backgrounds popular from women where aplace aconcourse, steps), lost of (space perdidos’ pasos de a‘espacio proposed Margarita then?’ do you would ‘what asked When theories. or studies than more much needed women that felt she enough: not was academy of approach lukewarm the that Pisano into the Circle. The ‘ The Circle. the into conflict brought This future. the for athirst triggering of way only the was present the knowing Margarita, For them. in presence their gauging walked, they and Santiago of maps drew they about, moving and space, city, the about talked they contrary, the on workshop, the In neighborhood. immediate their in ended and home the in started knowledge their 2009:114); &Franulic, (Pisano aculture” all, of least was, a country what know acity,didn’t in lived they that know didn’t [attending] ladies old “these space: in also but history, in aplace had only not they that realize women help to was Mondays Open these in activity first Her thinking. else brought studies to something feministsociological from outsider an as condition her. to Her naturally come to seemed mathematics, and drawing as such tools, architecture why is that –and her for not were Struggling with dyslexia, she had always felt that words aleader. be to how her taught it write: and speak to also but investigate, and read to her forced workshops the Conducting feminism. aradical for proposal Margarita’s place for ‘and’ thinking doing ‘ the workshop: the also but studio, the only not denotes word the practices, and schools architectural in After a 1982 conference in Santiago, in conference a1982 After Action-based feminism developed as the core of of core the as developed feminism Action-based 4 políticas ’ (‘politicals’) (fig. 5). it was clear to to clear was 2 it wanted to to 4 wanted taller .’ Used taller 5 ’ is a ’ is 3 FIG 4 FIG Desarrollo de la Mujer de –Corporación Morada /Source Fuente april 1987 Morada bulletin, march- /La 1987 marzo-abril FIG 5 FIG Desarrollo de la Mujer de –Corporación Morada /Source Fuente

Boletín La Morada, Morada, La Boletín Casa La Morada La Casa La La La La 129

ARQ 95 — UC CHILE FIG 6 Margarita en stay within the realm of academic studies, whereas for calle Los Navegantes, Margarita the only possibility was popular education Providencia, Santiago, c. 1983. / Margarita and political action. Separation ensued. When the at Los Navegantes St., políticas and the feminists ‘divorced,’ the latter got to Providencia, Santiago, keep the house, and they re-named it “Casa de la Mujer c. 1983. Fuente / Source cortesía Camila Gaggero La Morada.” As such, it would become a beacon of Pisano resistance and change.

Casa Los Navegantes (Los Navegantes 1983) If La Morada was the place where Margarita divorced from academic feminists (a painful yet amicable separation), this was only her second divorce. Much more difficult was the separation from her family. Before becoming a feminist leader, Margarita had been a practicing architect, a wife, a . This previous life took place in the wealthy neighborhood of Pedro de Valdivia Norte, a bourgeois urban area, close to the city center and the animated life of Providencia. There, Margarita’s family house stood, a custom-made house 130 designed in conjunction with Hugo Gaggero, her then its narrow passages of residential houses following the the following houses residential of passages narrow its with Norte, Valdivia de Pedro stood Behind house. her and children her husband, her left she 1983, In self. new her construct to away navigate to had She feminist. conscious increasingly the with architect the and wife the reconcile longer no could she as conflicts, internal growing Margarita’s witnessed have must basement the architecture studio to point meeting for activists, and boards Pinochet’s denouncing repression. signs painted friends female the floor, ground lower the Feminist Manifesto (Pisano & Franulic, and in 2009:52), the wrote Julieta and she pool, the By Navegantes. Los evolvedfriendship into regular, in organized meetings Female eighties. the of beginning atthe Kirkwood involved. to They introduced Julieta Margarita Kleiner, with which she would become increasingly Lea and Bru Roser them among artists, and women intellectual of agroup met Margarita Here, aristocracy. Chilean the for spot elite another Cachagua, in sea the by dwelling asecond constructed and designed couple the 1982, In days. her of end the until family the with live to in moved mother-in-law Margarita’s after, soon and, door next house the occupying grandparents maternal their to proximity close in lived family The born. were children two miscarriages several After grow. family the saw they here and onwards, 1963 from house this in lived couple The finance. and entrepreneurial role, dealing with clients, constructors an had Margarita artist. genius the architect, the was Hugo coordination. and administration of one was door) next parents’ her of that (and house this of design the in role Margarita’s convention. escaped that space adomestic in resulting enclosure, the within open and fluid made was that interior secluded ( room couple’s the of those for except walls internal no were there taste, and measure Gaggero’s to according mostly Designed 1966). yPisano, (Gaggero furniture theirs. to next plot the in parents Margarita’s for one also but house, family own their only not built and designed then Hugo and Margarita plots. smaller in subdivided was land the of rest The inquilino’ the kept Larraín 1960, in school the by occupied be to was which house), University acquired the old colonial the While members. its if some of life private the with institution apowerful mixed that ascheme in resulting 2015:118), (Gaggero, block whole the acquire and control toThanks their organized operation they managed to Margarita. and Hugo and father), (Margarita’s Pisano Ernesto Larraín, Sergio modernism, Chilean of figure leading and school, the of dean upcoming the were relocate their architecture school. Among the buyers to decided University the when individuals, a few and Católica Universidad the between made effort (fig. 6). graduation since practice well-known and asuccessful kept had she whom with husband, Casa Los Navegantes was like one big piece of of piece big one like was Navegantes Los Casa The site had been bought in 1958 in a common acommon in 1958 in bought been had site The fig. 7-8 ). Controlled natural light created a created light natural Controlled ). s house (the servant’s lodging). lodging). servant’s (the s house casa patronal From 5 From (main (main 131 ARQ 95 — UC CHILE R A Z GARCÍA DE CORTÁ

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FIGS 7-8 Publicación casa Gaggero / Gaggero house publishing Fuente / Source revista auca N° 2. Santiago: enero - febrero 1966, p. 46 - 50

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FIG 9 Pisano + Gaggero. ‘garden city’ model. One house, one garden, one family, Torre 11, Remodelación but not for Margarita. She had to go outside. San Borja, Santiago, Chile. Fuente / Source Alejandra Celedón 35 square meters Margarita had not been completely ‘in’ the architectural scene either. Her presence in their practice’s published oeuvre is scarce; the administrative role she fulfilled in the office might explain why she has been somewhat overlooked.6 One of the few witnesses of her participation is the surviving lettering that credits the architects of Tower 11 of the Remodelación San Borja. A housing complex of twenty-one high-rises, Gaggero and Pisano’s 1969 tower was part of one of the most important projects of urban regeneration built in Chile and Latin America (Pérez de Arce, 2016). Next to the entrance only her name is visible, as Gaggero’s ended up inside the recently refurbished access hall, behind a glazed door. Margarita’s name, however, didn’t escape patriarchal handling: what the lettering says is ‘Margarita Pisano de G,’ the last part literally meaning ‘of G[aggero]’ (fig. 9). In what was the common way of writing the names of married females, she appears simultaneously as author and possession. Margarita’s practice during her years at the familial office seems pragmatic and anonymous, much in contrast to the radicalism and oppositional attitude of her later public life. Gaggero and Pisano’s office had had important commissions, the most notable in scale and program was the UNCTAD III, a conference building designed during Salvador Allende’s socialist Unidad Popular government (Maulén, 2016). After Pinochet’s 134 1973 coup d’êtat, however, the office was blacklisted poverty invisible: invisible: poverty making by center city the cleansed that –one policy public regime’s the of part was city the of outskirts the in dwellings minimal atomized of construction The dictatorship. Pinochet’s under dwellings social to approach the in contrast stark the faced office the time This again. housing social on work to achance got they f areas of Santiago: Santiago: of areas exclusive most the of one in family awealthy for mansion a designing was office the time, same the exactly At architects could only be good executers or interpreters. interpreters. or executers good be only could architects musicians, as just sheet: music written already an follows that player apiano of that to architect the of work the disappointment with the profession, she would compare To her explain construction. its in connivance her denouncing clash class cruel the table, drawing her over projects two these of sight atthe erupted her inside nestled contradictions The shocked. was She rom public commissions for a time, and only in 1979 1979 in only and atime, for commissions public rom I was designing (Pisano & Franulic, 2009:31). 2009:31). &Franulic, (Pisano designing I was m 35 same the had space missing The cars). for spaces three considered already were (there boat motor his for garage the in aspace add to needed he forgotten had he saying client the from message a found and office the to Iarrived [o]ne day & Franulic, 2009:30). (Pisano settlements informal their in living continue to destined were miniatures these whom for people the leave to preferable times athousand was it that think me made This niches. as them making consciously was I fit, beds the making and plans the drawing When solution. ahousing as proposal inhuman an m 35 designing [w]e start[ed] 2 houses for eight people, of the other houses houses other the 2 of Camila Gaggero Pisano Gaggero Camila /Source Fuente Fuego, Chile. del Tierra Retamos, 10 FIG

Estancia Los Los Estancia

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ARQ 95 — UC CHILE AR She stood up and left the office. The moment she arrived Z home, her body reacted: she had a violent cuerpazo, a body-struck that made her feel as if her head was cut-off. She later found out she had suffered from encephalitis. Her disenchantment with architecture would be final: she had to break away from this hopeless non-sense,

ARCÍA DE CORTÁ and perhaps attempt to change the music scores form G

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ce project for an estancia Not always conflicted, at some point in Margarita’s life architecture had meant freedom. She was born and grew up in a small estancia, the product of the activism of her father’s generation to achieve agrarian reform (Pisano & Franulic, 2009:72). Estancias were the architectural typology that carried out the economic colonization of Tierra del Fuego, the southernmost tip of the continent. Exploitation of Magallanes took the form of either oil extraction or sheep breeding by private foreign companies. The latter were the means through which the wild expansions of this southern pampa were controlled and made productive. Large sheep-breeding estancias were composed of a series of buildings: enclosures, shearing sheds, ancillary buildings, lodgings for estancieros, small ports, roads and a main house were the typical configuration (Garcés, 2013). Built in wood and clad in galvanized iron of English origin, the estancias meant not only a colonization of the territory on behalf of the Chilean state, but the imposition of a European mindset over the cosmology of its aboriginal people. Systematic extermination of the latter, up until the beginning of the twentieth century, meant that the territory held this contradiction: over landscapes of savage beauty the most pragmatic relation of use and abuse was the norm. Margarita’s home, the estancia Los Retamos, stood seven kilometers apart from the Strait of Magellan (fig. 10). Aware of the brutal meanings that supported her presence in the island, her relation with the land was one of constant awe and profound respect. The connection between the two oceans was her backyard, only a gallop away. From there, Margarita saw a “horizontal sky, in front of her eyes” (Pisano & Franulic, 2009:70). She felt she could perceive the curvature of the earth from this flat, tree-less land. Constant wind blew and in the rare moments when it stopped, a beautiful stillness covered everything. During school months she lived in the regional capital, Punta Arenas,7 but on summers she could enjoy the long, never completely dark, polar nights. Margarita’s constitution was double as the territory: her mother instilled on her the habits of a good , while her father taught her to fly airplanes. Although an outdoor athlete, a consummated skier that would later become national champion, she would always have a natural inclination to tend her home, a reminiscence of her mother’s teaching.8 Yet, however attached she was to Magallanes, however fond of the 136 harsh and beautiful landscapes of the extreme south, that she had to pursue her dreams. her pursue to had she that was teachings, vocalized the beyond influence, mother’s her architecture; study to Santiago to flew she wishes, father’s her Against 2009:120). &Franulic, (Pisano man estanciero an of wife the be just couldn’t She leave. to had she that knowing always up grew she geography of Magallanes, but also with its uses; not only only not uses; its with also but Magallanes, of geography been a confrontation with her origins: not only with the have must project final her modernism, and studies urban adetour After typology. existent the of iteration an as simply appears it instead, it; to tone modernist Gaggero’s office. atHugo internship professional her year, underwent she same That others. among García-Moreno Larraín Sergio oeuvre and “Theory the on school the to research end-of-studies her submitted she 1958, In circulation. its and Santiago of center city the of redesign the aim for had that Duhart Emilio by led acourse in participated she 1957, In kind. another of was project final the to prior complete to had she research the that show records School student. a as path her was what with atodds stands project lost estancia an ( her other with subjects only occasional distinctions passing and theology failing always almost performance: irregular an have would she on From then courses. other the passed barely and drawing, hand failing after year first repeat to had she perfect: from far was University, Catholic the in school, architecture through passage fig. 12 Once in Santiago, she felt dislocated ( dislocated felt she Santiago, in Once Her final project for an estancia for project final Her ). Her final project for architecture school was was school architecture for project final Her ). of Le Corbusier, Architect,” assessed by by assessed Architect,” Corbusier, Le of in Magallanes. Submitted in 1960, this now now this 1960, in Submitted Magallanes. in does not have a a have not does 9 or a military amilitary or fig. 11 amid amid ). Her Her ). Palmer Trías. Documental Montserrat Fondo Chile. de Católica Pontificia Universidad de Originales. fadeu /Source Fuente Palmer (right). (center) and Montserrat Groote De Christian are: picture the in others Pisano is absent, among MargaritaChile, 1952. de Católica Universidad first-year class, Pontificia /Architecture (derecha). Montserrat Palmer y (centro) Groote De encuentran: Christian se otros entre ausente, está Pisano Margarita 1952. Chile, de Católica Pontificia Universidad Arquitectura, de año 11 FIG

Curso de primer primer de Curso

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FIG 12 Ficha estudiantil with her feelings of belonging, but also with the urge to de Margarita Pisano / leave. Architecture would not be her final destination, Margarita Pisano’s academic transcript nor would any of the architectures that she inhabited, Fuente / Source Archivo designed or re-made, yet a little bit of her is still imbued de Originales. fadeu. in all of them. As the intellectual head replaced the Pontificia Universidad Católica de Chile. Fondo athletic body, and as the body evolved from mother Documental Montserrat to rebellious woman, her spaces of transformation Palmer Trías. continued sheltering her. While she picked up more and more curious objects for her ever-growing collection, she founded several homes, yet perhaps always stood outside. ARQ

Gabriela García de Cortázar Alejandra Celedón [email protected] [email protected]

Architect, Universidad de Chile, 2003. MSC Advanced Architectural Architect, Universidad de Chile, Chile, 2006. MA Architectural History, Studies, University College London, UK, 2007. PhD Architectural University College London, UK, 2010. PhD Architectural Association, Association, UK, 2014. Her research interests range from the UK, 2017. Gabriela's main research interest thus far has been drawings: relationship between architectural drawings and the construction paper architecture, maps and chorography (the Renaissance term of discourses on the city, to the acts of redrawing and collecting as for the drawing of place). She was awarded an Abbey-Santander epistemological and critical operations. She teaches and conducts scholarship for her master's studies, and received a Sasakawa research at the Pontificia Universidad Catolica on geopolitical, Foundation grant for travelling to Japan in 2014. She recently published territorial and architectural strategies undertaken during the eighties an essay on Palladio's drawings of battles, «Palladian Feet» in AA Files in Santiago. Her latest publications include “Half-Plan” in San Rocco 11 138 73, and two essays on buildings in The Building (Zurich, 2016). and “Footprints” in ARQ 92. Notas /Notes Notas MAULÉN LAR G G G G G /Bibliography Bibliografía ARCÉS A A G G Santiago: Ediciones Ediciones Santiago: casa Gaggero». Gaggero». casa Investigaciones Diego Barros Arana, 2014. 2014. Arana, Barros Diego Investigaciones diseño colectivo en el edificio edificio el en colectivo diseño Alvimpres, 2015. Alvimpres, G O ERO ERO Calles caminadas, anverso yreverso anverso caminadas, Calles , Eliana. Tierra del Fuego: historia, arquitectura yterritorio arquitectura historia, Fuego: del Tierra , Eugenio. , David. «Una trayectoria excepcional. Integración cívica y y cívica Integración excepcional. trayectoria «Una David. , Hugo Gaggero, seis décadas en la arquitectura la en décadas seis Gaggero, Hugo , Hugo.

C APELLARO A U CA , Hugo; , Hugo; ARQ

2 (ene-feb, 1966):46-50. (ene-feb, 2 , 2013. , 2013. PISANO ii UNCTA D D E I G ». A

ARQ G G ER . Santiago: Centro de de Centro . Santiago:

92 (Abril, 2016):50-67. (Abril, 92 O , Margarita. «La «La , Margarita. . Santiago: . Santiago: . PISANO PISANO PISANO PÉREZ 9 8 7 6 5 4 3 2 1

Santiago: Ediciones Número Crítico, 1995. Crítico, Número Ediciones Santiago: (Abril, 2016):68-79.(Abril, Revolucionarias, 2009. Revolucionarias, de Pisano política Margarita biografía historia, ediciones, 2004. 2004. ediciones, la remodelación San Borja y las escuelas de arquitectura». arquitectura». de escuelas ylas Borja San remodelación la (Santiago: Documentas, 1987), Feminarios authored Sciences), Social of Faculty American and pushed her to escape. escape. to her pushed and Margarita shocked self-denial This awife. become to order in Rodig) Laura sculptor and Mistral Gabriela laureate poet by (organized Santiago in art study to ascholarship refused had mother Margarita’s 2016. May in relatives Pisano’s Margarita of one by told As his/her name confidential), in conversation on November 2, 2016. keep to asked (who relative Pisano’s Margarita of one by referred As 2015). (Gaggero, with involved was she projects in participation her credit even not does office Gaggero-Pisano the of history official The 5. note in original spanish See 2009:46). &Franulic, (Pisano bed”. in and home at country, the in “Democracy and home” at and country the in “Democracy motto Their movement. activist the of part only were who 'feminists', to opposed party, apolitical in militated who women for name the was 'Politicals' (2009:16). &Franulic Pisano See wishes. own her of fulfillment the following feminism Chilean of history the off written been has Margarita some, to According (195). 2004 Largo, in Matus Verónica with Interview many. by criticized been has that leadership of A form the by organized was it and Santiago, Rosal, with Lastarria in located Mapocho, Jornadas de la Mujer sociologist and researcherJulieta at Kirkwood, 1986, 2002), among others. among 2002), 1986, D , Margarita. Julia, quiero que feliz seas deseos? los de cambio el ¿o , Margarita. cambio de Deseos , Margarita; E

A RCE FLACSO , Rodrigo. «El jardín de los senderos entrecruzados: entrecruzados: senderos los de jardín «El , Rodrigo. FRANULIC CEM , 1982), Ser política en Chile, 1982), (Santiago: took place in 1982 in the then Centro Cultural Cultural Centro then the in 1982 in place took Feminismo y participación política en Chile . Una historia fuera de la la de fuera historia Una , Andrea, . Santiago: . Santiago: . Santiago: Editorial Editorial . Santiago: FLACSO LOM (Latin (Latin L

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