This dissertation examines counter-narratives of landscape in Bolivia, Colombia and Peru considering two moments of crisis and political discontent: 1929 and 1989. The main purpose is to understand how these counter-narratives invalidate the exhaustion of the notion landscape as studied by metropolitan scholars such as Danis E. Cosgrove and M.J.T Mitchell. Inspired by Peruvian Gamaliel Churata and British English John Berger, this study initially enters in dialogue with the deconstruction of the landscape and then, prioritizing current trends, locates the conflictive configurations and coexistence of counter-landscapes that politically empower alterity. A specific examination of the last-named scenario takes place along four ashyncronic case-studies or "acts". The first analyzes the Peruvian avant-garde publication referred as the 'journal with four names' (1926-7) where Magda Portal, among others, alters the dominant landscape in order to politically empower Lima's peripheries. The second investigates the avant-garde Colombian artist Pedro Nel Gomez's mural artwork, within the context of the indigenist group "Los Bachués", and how his widely criticized ugliness turns into defiance of cultural harmony and hegemonic perceptions of the landscape. The third act examines Los días azules (1985) by the Colombian writer Fernando Vallejo in which the landscape disrupts the physical sequence of the landscape through the act of remembering. Finally, the fourth act studies Blanca Wiethüchter's poem Madera viva y árbol difunto (1982), in order to explain how the Andean landscape ruptures a naturalistic tradition that attempted to dominate people and places. I argue that each of these four discarded counter-narratives of the landscape questions the colonially-tamed gaze, and its impulse to homogenize cultures and dissidences. As such, instead of dismantling the notion of the landscape, this study will reinstate its social and marginal imaginaries by recognizing the materiality of landscape, and, most importantly the political role of imagination in shaping the sense of the real.
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机译：本论文考察了玻利维亚，哥伦比亚和秘鲁的景观反叙事，考虑了两个危机时刻和政治不满时刻：1929年和1989年。主要目的是了解这些反叙事如何使都市学者对概念景象的穷竭化无效例如Danis E. Cosgrove和MJT Mitchell。受秘鲁人Gamaliel Churata和英国英语John Johner的启发，这项研究首先与景观的解构进行对话，然后，优先考虑当前趋势，找出在政治上赋予变更以权力的反景观的冲突形态和共存。对姓氏命名方案的特定检查是通过四个ashyncronic案例研究或“行为”进行的。第一个分析了秘鲁的前卫出版物，称为“四个名字的新闻杂志”（1926-7），其中玛格达门户网站等改变了统治格局，以便政治上赋予利马周边地区以权力。第二部分在原住民团体“ LosBachués”的背景下调查了哥伦比亚前卫艺术家Pedro Nel Gomez的壁画，以及他广受批评的丑陋如何变成对文化和谐和对景观霸权主义观念的蔑视。第三幕考察了哥伦比亚作家费尔南多·瓦列霍（Fernando Vallejo）的《洛斯·达斯·阿苏莱斯》（Losdíasazules，1985），其中，景观通过记忆行为破坏了景观的物理顺序。最后，第四幕研究了布兰卡·维特希特（BlancaWiethüchter）的诗《玛德拉（Madera viva yárboldifunto）》（1982年），以解释安第斯山脉的景观如何破坏试图统治人和地方的自然主义传统。我认为，这四个废弃的风景叙事中的每一个都质疑殖民地驯服的凝视，以及它使文化和异议统一化的冲动。因此，本研究不会取消景观的概念，而是通过认识景观的实质性，最重要的是，通过想象力在塑造真实感方面的政治作用，来恢复其社会和边缘想象。
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