Entre las crónicas de costumbres escritas por el venezolano Simón Camacho Clemente (1824-1883) para publicación en la prensa hispanoamericana, y recogidas en su colección Cosas de los Estados Unidos (Nueva York, 1864), hay varias que tratan el tema de su amistad con el pianista Louis Moreau Gottschalk (1829-1869). Una de estas crónicas relata un suceso macabro atribuido a Gottschalk, pero a todas luces inventado por Camacho: el supuesto encuentro del pianista, en el vagón de equipajes de un tren, con los ataúdes de soldados caídos en una batalla de la Guerra de Secesión. Según el relato, estos soldados, vivos todavía, habían sido encajonados prematuramente para ser transportados a su lugar de entierro. Además de reflejar una estética gótica propia de las letras románticas en las que Camacho se había formado, y la obsesión popular en la época con la vivisepultura, este relato critica implícitamente ciertas tendencias que el venezolano asociaba con la cultura norteamericana, como el movimiento incesante, la comercialización del arte y del artista, y el descuido de la integridad corporal y moral del ser humano. En última instancia, los detalles del relato sugieren un sentido de escisión entre culturas experimentado por ambos hombres: Camacho, exiliado venezolano en Estados Unidos; y Gottschalk, oriundo de Nueva Orleans, más a gusto viviendo en las culturas latinas que en las angloamericanas, en las que se veía a sí mismo como una “mercancía” comercial.
委内瑞拉人西蒙·卡马乔·克莱门特(simon Camacho Clemente, 1824-1883)为西班牙裔美国人出版社出版的《习俗编年史》(chronicles of customs)中，有几本是关于他与钢琴家路易斯·莫罗·戈特沙尔克(Louis Moreau Gottschalk, 1829-1869)的友谊。其中一篇编年史讲述了一件被认为是戈特沙尔克的可怕事件，但显然是卡马乔发明的:据说这位钢琴家在一列火车的行李箱里遇到了美国内战中阵亡士兵的棺材。据报道，这些士兵还活着，被过早地包裹起来，以便被运送到他们的墓地。除了反映美学野蛮的浪漫在艺术界Camacho已经设立,和同时期人民痴迷vivisepultura委内瑞拉,这个故事隐含着某些趋势过于特指美国文化,如不断运动商业化的艺术和艺术家,包涵人类身体和道德。最终，故事的细节暗示了两人都经历过的一种文化分裂感:在美国的委内瑞拉流亡者卡马乔;而来自新奥尔良的戈特沙尔克(Gottschalk)则更愿意生活在拉丁文化中，而不是英美文化中，在英美文化中，他将自己视为一种商业“商品”。
{"title":"Cadáveres inquietos en Cosas de los Estados Unidos (1864) de Simón Camacho.","authors":"Frederick Luciani","doi":"10.26824/lalr.324","DOIUrl":"https://doi.org/10.26824/lalr.324","url":null,"abstract":"Entre las crónicas de costumbres escritas por el venezolano Simón Camacho Clemente (1824-1883) para publicación en la prensa hispanoamericana, y recogidas en su colección Cosas de los Estados Unidos (Nueva York, 1864), hay varias que tratan el tema de su amistad con el pianista Louis Moreau Gottschalk (1829-1869). Una de estas crónicas relata un suceso macabro atribuido a Gottschalk, pero a todas luces inventado por Camacho: el supuesto encuentro del pianista, en el vagón de equipajes de un tren, con los ataúdes de soldados caídos en una batalla de la Guerra de Secesión. Según el relato, estos soldados, vivos todavía, habían sido encajonados prematuramente para ser transportados a su lugar de entierro. Además de reflejar una estética gótica propia de las letras románticas en las que Camacho se había formado, y la obsesión popular en la época con la vivisepultura, este relato critica implícitamente ciertas tendencias que el venezolano asociaba con la cultura norteamericana, como el movimiento incesante, la comercialización del arte y del artista, y el descuido de la integridad corporal y moral del ser humano. En última instancia, los detalles del relato sugieren un sentido de escisión entre culturas experimentado por ambos hombres: Camacho, exiliado venezolano en Estados Unidos; y Gottschalk, oriundo de Nueva Orleans, más a gusto viviendo en las culturas latinas que en las angloamericanas, en las que se veía a sí mismo como una “mercancía” comercial.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114481777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"A Man\" and \"A Broken Bone\"","authors":"Alexis Anthony Levitin","doi":"10.26824/lalr.301","DOIUrl":"https://doi.org/10.26824/lalr.301","url":null,"abstract":"two short stories","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125149302","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Manuela Rosas, the daughter of Federalist dictator Juan Manuel de Rosas, is an important nineteenth century political figure who was a consistent subject of imaginative reconstruction during the Rosas era. Much like her fellow women revolutionaries, namely Eva Perón and her mother, Encarnación Ezcurra de Rosas, Manuela assumed an active role in the Argentine political arena and was instrumental maintaining her father’s unparalleled political supremacy, acting as chief mediator between the government and the marginalised Argentine masses. This article argues how, in a series of nineteenth-century fictional works, namely those of renowned Unitarians José Mármol (Amalia; El retrato de Manuela Rosas, 1851) and Juana Manuela Gorriti (El guante negro; La hiza del mashorquero, 1865), Manuela has been inaccurately depicted as ‘la primera victíma de la tiranía de su padre’ who desperately needed rescuing. Both writers maintain that Rosas curtailed his daughter’s social freedom, and that she would have reached her true potential had she been raised by civilised Unitarians and not in a Federalist environment. However, María Rosa Lojo’s La princesa federal (2010) contests the claim that Manuela suffered, instead postulating that she was a resilient and empowered individual who was passionate about promoting the causa federalista, remaining loyal to her father out of choice. I offer an original critical analysis of the unacknowledged and divergent literary and historical representations of Manuela, examining how writers use the lack of historical evidence to manipulate and imaginatively reconstruct her life story and in doing so, blur the line between fact and fiction
马努埃拉·罗萨斯是联邦党独裁者胡安·曼努埃尔·德·罗萨斯的女儿，她是19世纪重要的政治人物，在罗萨斯时代，她一直是富有想象力的重建的主题。就像她的女性革命者同伴，即伊娃Perón和她的母亲Encarnación Ezcurra de Rosas一样，曼努埃拉在阿根廷政治舞台上扮演了积极的角色，并在维护她父亲无与伦比的政治霸权方面发挥了重要作用，在政府和被边缘化的阿根廷群众之间扮演了主要调解人的角色。这篇文章讨论了在一系列十九世纪的虚构作品中，也就是著名的一神论派作家约瑟·萨维尔Mármol(阿玛利亚;El retrato de Manuela Rosas, 1851)和Juana Manuela Gorriti (El guante negro;La hiza del mashorquero, 1865)， Manuela被错误地描述为“La primera victíma de La tiranía de su padre”，她迫切需要救援。两位作者都认为，罗萨斯限制了他女儿的社会自由，如果她是在文明的一神论派而不是在联邦主义的环境中长大的，她就会发挥出她真正的潜力。然而，María Rosa Lojo的La princesa federal(2010)反驳了Manuela遭受苦难的说法，相反，她假设Manuela是一个充满活力和权力的个体，她热衷于推动联邦主义，出于选择而对父亲保持忠诚。我对马努埃拉未被承认的、不同的文学和历史表现形式进行了原创的批判性分析，研究了作家如何利用缺乏历史证据来操纵和富有想象力地重构她的生活故事，并在这样做的过程中模糊了事实与虚构之间的界限
{"title":"Redefining Truths: Manuela Rosas as a subject of Imaginative Reconstruction in the Argentine Literary Realm","authors":"R. Morgan","doi":"10.26824/lalr.284","DOIUrl":"https://doi.org/10.26824/lalr.284","url":null,"abstract":"Manuela Rosas, the daughter of Federalist dictator Juan Manuel de Rosas, is an important nineteenth century political figure who was a consistent subject of imaginative reconstruction during the Rosas era. Much like her fellow women revolutionaries, namely Eva Perón and her mother, Encarnación Ezcurra de Rosas, Manuela assumed an active role in the Argentine political arena and was instrumental maintaining her father’s unparalleled political supremacy, acting as chief mediator between the government and the marginalised Argentine masses. This article argues how, in a series of nineteenth-century fictional works, namely those of renowned Unitarians José Mármol (Amalia; El retrato de Manuela Rosas, 1851) and Juana Manuela Gorriti (El guante negro; La hiza del mashorquero, 1865), Manuela has been inaccurately depicted as ‘la primera victíma de la tiranía de su padre’ who desperately needed rescuing. Both writers maintain that Rosas curtailed his daughter’s social freedom, and that she would have reached her true potential had she been raised by civilised Unitarians and not in a Federalist environment. However, María Rosa Lojo’s La princesa federal (2010) contests the claim that Manuela suffered, instead postulating that she was a resilient and empowered individual who was passionate about promoting the causa federalista, remaining loyal to her father out of choice. I offer an original critical analysis of the unacknowledged and divergent literary and historical representations of Manuela, examining how writers use the lack of historical evidence to manipulate and imaginatively reconstruct her life story and in doing so, blur the line between fact and fiction","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122945203","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Este artículo analiza el uso de los vestidos de Juana de Castilla en la novela El pergamino de la seducción de la autora nicaragüense Gioconda Belli para explicar cómo cada uno representa una forma de comunicación y la herramienta para diferenciar de la voz de Juana de Castilla de la del personaje protagonista Lucía, quien es la que usa los vestidos. El análisis se hace partiendo de las ideas de Roland Barthes en su texto El sistema de la moda donde propone la idea de la moda y la vestimenta como un sistema de signos comunicativos. Este análisis también busca demostrar como los vestidos además de ser un discurso en sí funcionan como eslabón para que el personaje de Lucía explore la identidad sexual a través de su cuerpo. Estas ideas proponen el uso de la moda para cuestionar la identidad y hacer una crítica hacia dos sociedades de épocas diferentes que rechazan la existencia de mujeres autónomas en sus ideales y en su sexualidad.
{"title":"Del juego a la exploración de la identidad: el uso del vestido como lenguaje en El pergamino de la seducción","authors":"Sara Rico-Godoy","doi":"10.26824/lalr.296","DOIUrl":"https://doi.org/10.26824/lalr.296","url":null,"abstract":"Este artículo analiza el uso de los vestidos de Juana de Castilla en la novela El pergamino de la seducción de la autora nicaragüense Gioconda Belli para explicar cómo cada uno representa una forma de comunicación y la herramienta para diferenciar de la voz de Juana de Castilla de la del personaje protagonista Lucía, quien es la que usa los vestidos. El análisis se hace partiendo de las ideas de Roland Barthes en su texto El sistema de la moda donde propone la idea de la moda y la vestimenta como un sistema de signos comunicativos. Este análisis también busca demostrar como los vestidos además de ser un discurso en sí funcionan como eslabón para que el personaje de Lucía explore la identidad sexual a través de su cuerpo. Estas ideas proponen el uso de la moda para cuestionar la identidad y hacer una crítica hacia dos sociedades de épocas diferentes que rechazan la existencia de mujeres autónomas en sus ideales y en su sexualidad.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130375012","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Patricio Pron’s "El espíritu de mis padres sigue subiendo en la lluvia" is among the many twenty-first century Argentine novels that grapple with the historical events of the 1960s and 70s and their ongoing repercussions in the present. Based on the title of Pron’s work, one might assume that the text would be focused on the spirit of possibility that characterized his parents’ generation — the “spirit of hope for change” that John Beverley has identified as part of the cultural ethos of the armed struggle. However, Pron never provides a detailed account of his narrator’s parents’ activities as members of the Peronist organization Guardia de Hierro, nor does he offer a thorough depiction of the spirit of the era. This marked contradiction between what the title suggests the novel is about and what it actually addresses gestures to an alternate layer of meaning in the text, conveying the way in which the legacies of both the dictatorship and of neoliberal governance continue to overshadow memories and representations of the political movements that preceded the dictatorship and of the spirit of possibility that accompanied them. At the same time, the novel’s title and the passage from which it emerges also speak to a coexisting desire in twenty-first century Argentine literature to regain access to the spirit of possibility of the political movements of the 1960s and early 70s so as to be able to use it for the country’s future.
帕特里西奥·普隆的《espíritu》是21世纪阿根廷众多小说中的一部，这些小说与20世纪60年代和70年代的历史事件及其对当今的持续影响作了斗争。根据普隆作品的标题，人们可能会认为，文章将聚焦于他父母那一代人所特有的可能性精神——“变革的希望精神”，约翰·贝弗利(John Beverley)认为这是武装斗争文化气质的一部分。然而，普隆从未详细描述叙述者的父母作为庇隆主义组织“耶罗守护者”(Guardia de Hierro)成员的活动，也没有对那个时代的精神进行全面的描述。书名所暗示的小说内容和它实际所表达的内容之间的明显矛盾表明了文本中另一层意义，传达了独裁统治和新自由主义统治的遗产继续掩盖了对独裁统治之前的政治运动的记忆和表现，以及伴随它们的可能性精神。与此同时，小说的标题和段落也说明了21世纪阿根廷文学中共存的愿望，即重新获得20世纪60年代和70年代早期政治运动的可能性精神，以便能够将其用于国家的未来。
{"title":"“Hasta tomar el cielo por asalto”: Competing Historical Moods in Patricio Pron’s \"El espíritu de mis padres sigue subiendo en la lluvia\"","authors":"Rebecca Garonzik","doi":"10.26824/lalr.274","DOIUrl":"https://doi.org/10.26824/lalr.274","url":null,"abstract":"Patricio Pron’s \"El espíritu de mis padres sigue subiendo en la lluvia\" is among the many twenty-first century Argentine novels that grapple with the historical events of the 1960s and 70s and their ongoing repercussions in the present. Based on the title of Pron’s work, one might assume that the text would be focused on the spirit of possibility that characterized his parents’ generation — the “spirit of hope for change” that John Beverley has identified as part of the cultural ethos of the armed struggle. However, Pron never provides a detailed account of his narrator’s parents’ activities as members of the Peronist organization Guardia de Hierro, nor does he offer a thorough depiction of the spirit of the era. This marked contradiction between what the title suggests the novel is about and what it actually addresses gestures to an alternate layer of meaning in the text, conveying the way in which the legacies of both the dictatorship and of neoliberal governance continue to overshadow memories and representations of the political movements that preceded the dictatorship and of the spirit of possibility that accompanied them. At the same time, the novel’s title and the passage from which it emerges also speak to a coexisting desire in twenty-first century Argentine literature to regain access to the spirit of possibility of the political movements of the 1960s and early 70s so as to be able to use it for the country’s future.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114490686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The short story narrates the journey of a young girl that disappears at the lawless border between Venezuela and Colombia.
这个短篇故事讲述了一个年轻女孩的旅程，她在委内瑞拉和哥伦比亚之间无法无天的边境失踪。
{"title":"La nina perdida","authors":"Nancy Noguera","doi":"10.26824/lalr.300","DOIUrl":"https://doi.org/10.26824/lalr.300","url":null,"abstract":"The short story narrates the journey of a young girl that disappears at the lawless border between Venezuela and Colombia.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124016459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The queer aspect of national literary histories has been traditionally obscured, and although it is gradually being recuperated, the impact of translation has been so far overlooked. Using the example of modernist fiction from England translated into Spanish and published in Argentina, I argue that translation smuggles, purposely misappropriates and resignifies alternative sexual desires and gender identities, opening spaces for local literatures to further explore these possibilities. Translation episodes from the 1940s and 1950s in Argentina are key to reconstructing the obscured history of literary queerness and I focus on one example that is perhaps the earliest, a translation of Denton Welch’s “When I Was Thirteen” by Jose Bianco of Sur magazine which appeared as “Cuando tenía trece años,” published in September 1944. Rather than isolated instances, such translations served to slowly transform the sentimental landscape of Argentine literature in a context where the popular imagination was prescriptively heteronormative. This article exhumes this little-known episode as one of the first cornerstones in a queer chapter of literary history in translation. Strictly related to depictions of homosexual desires, I propose “queer decorum” as an approach that affects translation strategies and decisions, subsequently affecting the translated text as a result and somehow making its publication possible.
传统上，民族文学史中的酷儿方面一直被遮蔽，尽管它正在逐渐恢复，但翻译的影响迄今为止一直被忽视。以翻译成西班牙语并在阿根廷出版的英国现代主义小说为例，我认为翻译是走私的，故意挪用和重新定义了其他性欲望和性别身份，为当地文学进一步探索这些可能性开辟了空间。阿根廷20世纪40年代和50年代的翻译片段是重建文学酷儿模糊历史的关键，我关注的一个例子可能是最早的，丹顿·韦尔奇的《当我13岁时》的翻译，由《Sur》杂志的何塞·比安科译为“Cuando tenía trece años”，发表于1944年9月。这种翻译不是孤立的例子，而是在大众想象是规范性的异性恋的背景下，慢慢地改变了阿根廷文学的情感景观。这篇文章挖掘了这个鲜为人知的插曲，作为翻译文学史上一个奇怪篇章的第一个基石之一。与同性恋欲望的描述严格相关，我提出“酷儿礼仪”作为一种影响翻译策略和决策的方法，从而影响翻译文本，并在某种程度上使其出版成为可能。
{"title":"Queer Decorum: An Episode on Translation and Marginalized Sexualities","authors":"María Julia Rossi","doi":"10.26824/lalr.252","DOIUrl":"https://doi.org/10.26824/lalr.252","url":null,"abstract":"The queer aspect of national literary histories has been traditionally obscured, and although it is gradually being recuperated, the impact of translation has been so far overlooked. Using the example of modernist fiction from England translated into Spanish and published in Argentina, I argue that translation smuggles, purposely misappropriates and resignifies alternative sexual desires and gender identities, opening spaces for local literatures to further explore these possibilities. Translation episodes from the 1940s and 1950s in Argentina are key to reconstructing the obscured history of literary queerness and I focus on one example that is perhaps the earliest, a translation of Denton Welch’s “When I Was Thirteen” by Jose Bianco of Sur magazine which appeared as “Cuando tenía trece años,” published in September 1944. Rather than isolated instances, such translations served to slowly transform the sentimental landscape of Argentine literature in a context where the popular imagination was prescriptively heteronormative. This article exhumes this little-known episode as one of the first cornerstones in a queer chapter of literary history in translation. Strictly related to depictions of homosexual desires, I propose “queer decorum” as an approach that affects translation strategies and decisions, subsequently affecting the translated text as a result and somehow making its publication possible.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132350283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
These nine poems work together to form a narrative about a man who is broke and destitute in the mountains of Chile.
这九首诗共同构成了一个关于一个在智利山区身无分文、一贫如洗的人的故事。
{"title":"A Series of Cueca Chilena","authors":"P. Brooke","doi":"10.26824/lalr.270","DOIUrl":"https://doi.org/10.26824/lalr.270","url":null,"abstract":"These nine poems work together to form a narrative about a man who is broke and destitute in the mountains of Chile.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131587387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Based on the analysis of the blog and book by Mariana Eva Perez, Diario de una princesa montonera, this article proposes that memory narratives articulate as a response to current political junctures. Pérez is a daughter of the disappeared during the Argentine dictatorship, and a human rights activist in organizations regarding the terrorism victims’ vindication. The topics, tones and meta-literal allusions that Pérez displays in the blog are sustained in the dialogue that the author maintains with the historical moment of the memory policies enacted by the Néstor Kirchner and Cristina Fernández de Kirchner, and Mauricio Macri administrations. Her literary choices unveil how the relatives of the dictatorship victims’ memory discourses are shaped from the perspective of the present.
本文通过对Mariana Eva Perez的博客和著作《montonera公主日记》的分析，提出记忆叙事是对当前政治关头的回应。她是阿根廷独裁时期失踪者的女儿，也是为恐怖主义受害者辩护组织的人权活动家。prez在博客中所呈现的主题、语气与元文字影射，在作者与纳斯托·基什内尔、克里斯蒂娜(Fernández de Kirchner)与毛里西奥·马克里(Mauricio Macri)政府所制定的记忆政策这一历史时刻的对话中得以延续。她的文学选择揭示了独裁受害者亲属的记忆话语是如何从现在的角度形成的。
{"title":"La memoria del presente: literatura y activismo en Diario de una princesa montonera. 110% verdad de Mariana Eva Pérez","authors":"Valeria Rey de Castro","doi":"10.26824/lalr.280","DOIUrl":"https://doi.org/10.26824/lalr.280","url":null,"abstract":"Based on the analysis of the blog and book by Mariana Eva Perez, Diario de una princesa montonera, this article proposes that memory narratives articulate as a response to current political junctures. Pérez is a daughter of the disappeared during the Argentine dictatorship, and a human rights activist in organizations regarding the terrorism victims’ vindication. The topics, tones and meta-literal allusions that Pérez displays in the blog are sustained in the dialogue that the author maintains with the historical moment of the memory policies enacted by the Néstor Kirchner and Cristina Fernández de Kirchner, and Mauricio Macri administrations. Her literary choices unveil how the relatives of the dictatorship victims’ memory discourses are shaped from the perspective of the present.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123849967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
En este ensayo propongo una lectura distinta sobre dos películas claves del cine peruano: La teta asustada de Claudia Llosa (2009) y Dioses de Josué Méndez (2008). En ambas analizo el rol de la ciudad letrada según las bases teóricas de Angel Rama. Muestro cómo en ambas cintas se ve un cambio profundo en la "otrora ciudad letrada" que aparece en el cine como un último bastión casi sin un rol fijo de la intelectualidad peruana. Ambas películas sugieren que la modernidad, la creatividad, los negocios, el dinamismo y la transformación social vienen del mundo migrante asentado en la periferia de la ciudad de Lima. Este tiene un rol muy activo e importante en la ciudad y ha desplazado a la ciudad letrada (o ha hecho que la transculturación sea central y que una no pueda vivir sin la otra).
{"title":"La teta asustada de Claudia Llosa y Dioses de Josué Méndez: una lectura crítica de La ciudad letrada desde el cine peruano","authors":"Carolyn Wolfenzon","doi":"10.26824/lalr.263","DOIUrl":"https://doi.org/10.26824/lalr.263","url":null,"abstract":"En este ensayo propongo una lectura distinta sobre dos películas claves del cine peruano: La teta asustada de Claudia Llosa (2009) y Dioses de Josué Méndez (2008). En ambas analizo el rol de la ciudad letrada según las bases teóricas de Angel Rama. Muestro cómo en ambas cintas se ve un cambio profundo en la \"otrora ciudad letrada\" que aparece en el cine como un último bastión casi sin un rol fijo de la intelectualidad peruana. Ambas películas sugieren que la modernidad, la creatividad, los negocios, el dinamismo y la transformación social vienen del mundo migrante asentado en la periferia de la ciudad de Lima. Este tiene un rol muy activo e importante en la ciudad y ha desplazado a la ciudad letrada (o ha hecho que la transculturación sea central y que una no pueda vivir sin la otra).","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117045705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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