Pub Date : 2022-01-02DOI: 10.1080/13260219.2022.2087308
S. Sosnowski
ABSTRACT This commentary, which reflects on literature and memory against the backdrop of Latin American Studies, is framed by moving from a global perspective to events in Latin America and then addressing the Southern Cone’s dramatic experience during the second half of the twentieth century. Civic-military dictatorships made radical changes in this region’s countries through their systematic pursuit of massive killings, disappearances, sustained repression, and the exile of tens of thousands of citizens. The pursuit of justice followed different paths after the collapse or surrender of each of the regimes. These ranged from bringing the top echelons of the military juntas to justice, to a plebiscite to forego such trials, or being forced to accept the presence of an emblematic dictator in the transition to democracy. As part of the reckoning with the long-lasting ramifications of the most brutal experience that the citizenry was compelled to endure, the denunciation of crimes and the concomitant politics of memory and oblivion took center stage. It underscores the need to learn ways of preserving and acting on the memories while moving forward and building democratic and participatory societies. It is also noteworthy that professors are encouraged to be discerning while teaching literature and culture, as the material included in a syllabus can make a difference to the indifferent, particularly in democratic societies where fascism has been making insidious headway
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Pub Date : 2022-01-02DOI: 10.1080/13260219.2022.2087323
Sol Rojas-Lizana
ABSTRACT In 2020, the Chilean Chamber of Deputies approved the project that sanctioned negacionismo; that is, the denial of the violation of Human Rights committed by state agents during the civic-military dictatorship (1973–1990). Using discourse analysis, the objective of this article is to examine the variants of negacionismo that emerged in media posts after the inauguration in 2015 of the traumascape Graderías de la dignidad within the National Stadium. I aim to contrast these discourses with the objectives promoted in the memorial and reflect on their ethical values. The results show that negacionismo reveals the ascent of a necropolitical discursive frame alongside a rhetoric of disenchantment with the political system that seems to impede any reflection on the value that social memory and memorials may have to healing a society and restoring the dignity of its victims.
2020年，智利众议院批准了一项批准谈判主义的项目;也就是说，否认国家人员在文武独裁时期(1973-1990年)侵犯人权的行为。本文的目的是利用话语分析来研究2015年国家体育场内的创伤景观Graderías de la dignidad落成后媒体帖子中出现的消极主义变体。我的目的是将这些话语与纪念馆所倡导的目标进行对比，并反思它们的伦理价值。结果表明，否定主义揭示了一种死亡政治话语框架的上升，同时伴随着对政治制度的幻灭的修辞，这种修辞似乎阻碍了对社会记忆和纪念可能对治愈社会和恢复受害者尊严的价值的任何反思。
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Pub Date : 2022-01-02DOI: 10.1080/13260219.2022.2087306
A. Fernandez, S. Sosnowski
ABSTRACT “Re-interpreting Southern Cone Memories” presents a collective and multidisciplinary study of the multi-layered meanings and extended possibilities of memory related to the Southern Cone region of Latin America, with an emphasis on Argentina, Chile, and Uruguay. The group of articles featured in this volume privilege the enduring power of memory, which is shown as an educational force and a significant component in the construction of civil society. Moreover, they highlight how memory was distorted and threatened under dictatorial regimes, heightening the significance of memory and cultural frameworks. Notably, memory is not considered to be a selective sum of past events but as a force to be studied and, above all, as a tool for action. To remember, particularly in the context navigated by these studies, is to respond to what it brings forth and to act being aware of the role that culture gets to play in (re)building and sustaining society.
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Pub Date : 2022-01-02DOI: 10.1080/13260219.2022.2087317
Aiora Sampedro Alegria
could be seen as just a glossary, exposes an epistemology rooted in oscillation and movement, and thus clearly opposed to Trelles, Le Roy and Lamar Schweyer’s. Also worth highlighting are the sections devoted to Virgilio Piñera in Chapters five (“1957: A Moment In and Out of Life”) and seven (“1965: Post-liminal Cuba”). In both cases, Fay’s close reading of short stories (“El viaje” and “La rebelión de los enfermos”) is astute, and successfully articulates how literature can contribute to meaningful debates on identity. The author also deftly analyses how Piñera—unsurprisingly a liminalist—avails of an absurd narrative to articulate his opposition to an increasingly prevalent discourse of absolutes, unanimity, perfectibility and teleology. Stephen Fay’s Liminality in Cuba’s Twentieth-Century Identity is a thought-provoking study that offers many novel insights which would be of benefit to academics interested in debates on Cuba’s identity. Given its gender and racial bias, however, hopefully either Fay himself or another scholar will complement this interesting study with a similar one focused on Afro-Cuban and female analyst-authors.
可以被看作只是一个词汇，暴露了一种植根于振荡和运动的认识论，因此明显反对特勒斯，勒罗伊和拉马尔施韦耶的。同样值得强调的是，第五章(“1957年:生活中的一刻”)和第七章(“1965年:后阈值古巴”)中专门介绍维吉里奥Piñera的部分。在这两种情况下，费伊对短篇小说(“El viaje”和“La rebelión de los enfermos”)的仔细阅读都是精明的，并成功地阐明了文学如何有助于对身份进行有意义的辩论。作者还巧妙地分析了Piñera-unsurprisingly一个极限主义者如何利用荒谬的叙述来表达他对日益流行的绝对、一致、完美和目的论话语的反对。斯蒂芬·费伊的《古巴二十世纪身份中的阈值》是一本发人深省的研究，提供了许多新颖的见解，对那些对古巴身份辩论感兴趣的学者有益。然而，考虑到性别和种族偏见，希望Fay本人或其他学者能够用一个类似的研究来补充这个有趣的研究，该研究主要关注非洲裔古巴人和女性分析作家。
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Pub Date : 2022-01-02DOI: 10.1080/13260219.2022.2087331
Daniella Wurst
ABSTRACT In the aftermath of the Argentine dictatorship, the national imaginary anchored memory through a familial relation to loss, constituting a wounded family, that is, a broken lineage of family members of the disappeared whose biological kinship has become the motor for memory work and political activism. In this article, I explore the gendered implications of what it means to bear witness and be a member of the wounded family in the novel Diario de una princesa montonera. 110% verdad (2012) by Mariana Eva Pérez. As a daughter of disappeared parents, Pérez’s work constitutes a postmemory text that uses humor and genre experimentation to unsettle the solemnity and performative imperatives within the wounded family imaginary. Through a feminist criticism lens, I argue that the metafictional strategies of the text re-envision the possibilities of memory narratives and challenges that the conventional codes of remembering present within the Argentinian national imaginary.
在阿根廷独裁统治之后，国家想象通过与损失的家庭关系来锚定记忆，构成了一个受伤的家庭，即失踪者家庭成员的破碎血统，其生物亲属关系已成为记忆工作和政治行动主义的动力。在这篇文章中，我探讨了小说《蒙托纳拉公主日记》中见证和成为受伤家庭成员的性别含义。110% verdad(2012)，作者:Mariana Eva psamurez。作为父母失踪的女儿，prez的作品构成了一种后记忆文本，用幽默和体裁实验来动摇受伤家庭想象中的庄严和表演命令。通过女权主义批评的视角，我认为文本的元虚构策略重新设想了记忆叙事的可能性，并挑战了阿根廷民族想象中传统的记忆代码。
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Pub Date : 2022-01-02DOI: 10.1080/13260219.2022.2087322
Verónica Estay Stange, Rodrigo Uribe Otaíza
RESUMEN En 2017, frente al negacionismo imperante en torno a las dictaduras del Cono Sur, surge el colectivo Historias Desobedientes. Familiares de genocidas por la Memoria, la Verdad y la Justicia. Fundado en Argentina, se extendió luego a Chile y a Brasil. El objetivo de este artículo es explicitar las íntimas contradicciones que los desobedientes han debido asumir y trascender para forjar el ethos característico del movimiento: una legitimidad ética y política que, estrechamente vinculada con la palabra, tiende también a configurar una poética (en el sentido general de conjunto de reglas que rigen el decir). Sobre la base de producciones artísticas de algunos desobedientes argentinos y chilenos, y recurriendo a la fenomenología de la memoria (Ricœur), así como a los conceptos de “posmemoria” (Hirsch) y “memoria transgeneracional” (Abraham y Torok, Tisseron), propondremos una reflexión sobre las condiciones que, en este caso, permiten la transformación de lo personal en político.
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Pub Date : 2022-01-02DOI: 10.1080/13260219.2022.2087329
A. M. Fernández
ABSTRACT In the early 1980s, the Argentine filmmaker Miguel Pereira was a student at the London Film School. He was moved by Argentina’s social reality and the fact that young conscripts from Jujuy, and other local settings, were sent to fight in the Malvinas War. In 1988, he paid what I call a decolonial tribute to the Qulla people of Jujuy with his first feature film Verónico Cruz. La Deuda Interna. I argue that Pereira’s cinematic commemoration reinterprets sites of memory, such as the Argentine flag and the monument to General Belgrano, revealing their ambiguity. Adding another layer to the process of memorialization, it represents the warship ARA General Belgrano as a site of international conscience. it reflects on the deschooling of society undertaken by the dictatorship. Ultimately, it denounces the marginalization of the Qulla culture, despite the community’s significant contribution to their country.
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Pub Date : 2022-01-02DOI: 10.1080/13260219.2022.2087321
J. Lucca
RESUMEN Las murgas son agrupaciones artísticas del carnaval sudamericano que plantean en sus espectáculos una cosmovisión crítica y satírica de cómo fueron vivenciados los principales temas, problemas y traumas sociales. Por ello, sus repertorios son espacios fructíferos para repensar la construcción de las memorias colectivas del pasado dictatorial uruguayo (1973–85) y argentino (1976–83). A partir del siglo XXI, la murga uruguaya se revitalizó con el impulso del fenómeno de Murga Joven, que fue apropiado como género de carnaval en muchas ciudades argentinas como Rosario. Por ende, se compararán los repertorios de las primeras murgas jóvenes de Montevideo (La Mojigata y Agarrate Catalina) y Rosario (Mugasurga, La Cotorra y Aguantando la Pelusa). También se analizará en sus primeros espectáculos el abordaje de las experiencias traumáticas dictatoriales para observar la trasmisión intergeneracional de un recuerdo que estos jóvenes no vivenciaron, pero que se apropian, critican y defienden como tal.
本文的目的是分析在这一领域的研究，并分析在这一领域中使用的方法和方法，以及在这一领域中使用的方法和方法。因此，他的剧目是重新思考乌拉圭(1973 - 85)和阿根廷(1976 - 83)独裁过去集体记忆构建的富有成效的空间。从21世纪开始，乌拉圭的穆尔加在年轻穆尔加现象的推动下重新焕发了活力，这在阿根廷的许多城市，如罗萨里奥，都适合作为一种狂欢节类型。因此，我们将比较蒙得维的亚第一批年轻的murgas (La Mojigata和Agarrate Catalina)和Rosario (Mugasurga, La Cotorra和Aguantando La Pelusa)的曲目。在他们的第一个节目中，他们还将分析独裁创伤经历的方法，以观察这些年轻人没有经历过的记忆的代际传递，但他们挪用、批评和捍卫自己。
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Pub Date : 2022-01-02DOI: 10.1080/13260219.2022.2087316
Carlos Uxo
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Pub Date : 2021-12-21DOI: 10.1080/13260219.2021.1994704
Lucas Massuco
ABSTRACT
Memory studies tend to opt for two clear paths. Either they focus on the contestation of two antagonistic narratives, each with its selection of facts, symbols and dates. Or they analyse how a memory is represented in various devices or artefacts of the dominant and/or subaltern culture. This article proposes a third path based on the combination of both options with an articulation of political science and public policy analysis. The article will analyse the historical, political and aesthetic processes within the same narrative in order to understand, on the one hand, how these narratives are formed and, on the other, why they are represented in a certain way and not in other ways. To this end, the Rosario's Memory Museum in Argentina will be taken as the object of study.
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