{"title":"La escritura fonoautográfica de Rodolfo Walsh: la grabadora y la disputa por la voz obrera en ¿Quién mató a Rosendo?","authors":"Rodrigo Viqueira","doi":"10.26824/lalr.312","DOIUrl":null,"url":null,"abstract":"Most of the literary criticism has pointed out the importance of inscribing the voices of others or giving voice to others in Rodolfo Walsh’s writing. However, the material and technological conditions under which those voices appear in his texts have been scarcely addressed. In this essay I delve into sound studies to explore the uses of the tape recorder in the writing of ¿Quién mató a Rosendo? (1969). I propose the notion of a phonoautographic writing to refer to a textual practice conceived as a transcription of voices. The article analyzes the phonoautographic writing in ¿Quién mató a Rosendo? and explores how the tape recorder allowed Walsh to incorporate and manipulate the voices of his working-class characters. My argument is that Walsh used the tape recorder to register the workers’ voices in order to rearticulate in a personal way the sonic legacy of Peronism in the late 60s, a moment of crisis in the representation of the Argentine labor movement.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2022-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Latin American Literary Review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.26824/lalr.312","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
Most of the literary criticism has pointed out the importance of inscribing the voices of others or giving voice to others in Rodolfo Walsh’s writing. However, the material and technological conditions under which those voices appear in his texts have been scarcely addressed. In this essay I delve into sound studies to explore the uses of the tape recorder in the writing of ¿Quién mató a Rosendo? (1969). I propose the notion of a phonoautographic writing to refer to a textual practice conceived as a transcription of voices. The article analyzes the phonoautographic writing in ¿Quién mató a Rosendo? and explores how the tape recorder allowed Walsh to incorporate and manipulate the voices of his working-class characters. My argument is that Walsh used the tape recorder to register the workers’ voices in order to rearticulate in a personal way the sonic legacy of Peronism in the late 60s, a moment of crisis in the representation of the Argentine labor movement.
大多数文学批评都指出,在鲁道夫·沃尔什的写作中,铭刻他人的声音或给予他人声音的重要性。然而,这些声音出现在他的文本中的物质和技术条件却几乎没有提到。在这篇文章中,我深入研究了声音研究,以探索录音机在《quisamin mató a Rosendo?》(1969)。我提出留声机写作的概念,指的是一种被认为是声音转录的文本实践。本文分析了《quisamin mató a Rosendo?》中的留声机写作。并探讨了录音机如何让沃尔什融入和操纵他的工人阶级角色的声音。我的观点是,沃尔什用录音机记录工人的声音,以便以个人的方式重新阐明60年代末庇隆主义的声音遗产,这是阿根廷劳工运动代表的危机时刻。