记忆与河流

A. Basualdo
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引用次数: 0

摘要

espanolEl本打算跟进一个旅游公园纪念空间记忆(布宜诺斯艾利斯,翻到河的红光,就是完成这么多死人淹没),entrecruza时间的恐怖与一个纪念碑,性能问题,应可以被谅解?,竖立,排练,赋予被剥夺的东西身体。这些问题与H.I.J.O.S.(为身份而生的儿子和女儿,反对遗忘和沉默的正义)的小说展开了必要的对话,这些小说讲述了在过去20年里开始创作自己故事的失踪者。EnglishThis条takes the reader on a journey through纪念日公园(the commemorative area in the city of which looks学校国际协会在laPlata,布宜诺斯艾利斯,在如此多的corpses终了up submerged) which intertwines the time of恐怖with a time that奇迹which monuments, which representationscan,必须(?)应erected practiced,给substance, body to what has been采取away。问题that require initiate a dialogue with us to thefictional works of H.I.J.O.S. (Sons and Daughters for [acronym Identity and Justice Forgetting和沉默,which coincidentally还reads向导”“儿童失踪(西班牙)“人民派”)that started to over the过去近20年的故事使他们自己。
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Memory and the river
espanolEl presente articulo propone un recorrido por el Parque de la Memoria (espacio conmemorativo de la ciudad de Buenos Aires, abierto hacia el Rio de la Plata, donde tantos cadaveres terminaron sumergidos), que entrecruza el tiempo del horror con uno que se pregunta que monumentos, que representaciones se pueden, se deben, ?se deberian?, erigir, ensayar, para dar cuerpo a lo sustraido. Preguntas que entablan un necesario dialogo con las ficciones de los H.I.J.O.S.(Hijos e Hijas por la Identidad y la Justicia contra el Olvido y el Silencio) de losdesaparecidos que comenzaron a producir sus propios relatos en los ultimosveinte anos. EnglishThis article takes the reader on a journey through Remembrance Park (the commemorative area in the city of Buenos Aires, which looks onto Rio de laPlata, where so many corpses ended up submerged) which intertwines the time of horror with a time that wonders which monuments, which representationscan, must, should (?) be erected, practiced, to give substance, body, to what has been taken away. Questions that require us to initiate a dialogue with thefictional works of H.I.J.O.S. (Spanish acronym for Sons and Daughters for Identity and Justice Against Forgetting and Silence, which coincidentally also reads as“children” in Spanish) of the desaparecidos (“missing people”) that started to produce their own stories over the last 20 years.
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