Suchergebnisse

This dissertation considers theory from the field of Memory Studies to compare the relationships between transitional justice, cultural production, and discourses on state terror and human rights. The most recent civic-military dictatorships in Brazil (1964-1985), Uruguay (1973-1985), and Argentina (1976-1983) remain unresolved histories in the collective imaginaries of each country. The fields of literary and media studies often point to the cultural production that represents this period as contributing to the construction of memory, and, therefore, against impending oblivion. My dissertation moves beyond the binary logic of remembrance and oblivion to analyze the ways in which cultural production shapes our understanding of the dictatorships and their aftermath. Chapter 1, "The Survivor on Screen: Film in Post-dictatorship Brazil," focuses on the films Que bom te ver viva (L�cia Murat, 1989), A��o entre amigos (Beto Brant, 1998), and Hoje (Tata Amaral, 2011) to understand the extent to which they reinforce or reject the notion that the only people affected by the dictatorship were the militants who took up arms against the regime. Chapter 2, "Unfinished Stories: Film in Post-Dictatorship Uruguay," analyzes the films Zanahoria (Enrique Buchichio, 2014), Matar a todos (Esteban Schroeder, 2007), and Secretos de lucha (Maiana Bidegain, 2007), which all depict the past as unresolved. Each of these films has an inconclusive ending, implying that Uruguayan transitional justice is yet to come. Chapter 3, "Towards Inclusive Victimhood and Memory: Post-dictatorship Film in Argentina," analyzes Cautiva (Gast�n Biraben, 2003), Los Rubios (Albertina Carri, 2003), and Buenos Aires Viceversa (Alejandro Agresti, 1996) as examples of works that challenge the canonized memories of the dictatorship as well as the widely accepted notions of victimhood, pushing for the consideration of traditionally excluded subjectivities. This chapter addresses the intergenerational struggle over memory and the victims of economic crises in the post-dictatorship. This dissertation investigates the impact that political and legal frameworks have on filmmaking, on storytelling, and on how the past is remembered, contributing to research on the intersection between memory studies, transitional justice, and the cultural field.

Acknowledgements -- Contents -- Abbreviations -- List of Figures -- Chapter 1: Introduction -- Notes -- Chapter 2: The Autofictional Turn, Playful Memories of Trauma and the Post-Dictatorship Generations -- Testimonies and the Preservation of Historical Memory -- Representation, Fiction and Allegory -- Anachronism and Autofiction -- Argentine Autofictions, Affect and the Subjective Turn -- Playing with Trauma -- Notes -- Chapter 3: Toying with History in Albertina Carri's Los rubios -- Play as Topsy-Turvy Sacred -- Albertina Carri's Kampf -- Toy (Hi)stories and Playbacks -- Notes -- Chapter 4: Self-Fictionalization, Parody and Testimony in Diario de una princesa montonera-110 % Verdad and Montonerísima -- Huachos: From Postmemory to Post-orphanhood -- A (Cyber) Damsel in Distress -- A New Lexicon of Terror -- Notes -- Chapter 5: Happily Ever After? Guerrilla Fables and Fairy Tales of Disappearance -- Si Alice viviera sería Montonera -- Los niños del Proceso in Never (Again) Land -- The Enchanted Generation -- Notes -- Chapter 6: Lucila Quieto's Ludic Gaze -- Indexicality and Victimhood -- Prosthetic Memories of Absence -- Crafting History -- Photographing the Invisible -- (Generational) Ways of Seeing -- Outside the Lines -- Notes -- Chapter 7: The Defamiliarized Past in Félix Bruzzone's Comical Autofictions -- Las chanchas: Stranger than Reality -- The Hamlet Generation and a Multidirectional Memory of Disappearance -- Becoming Animals -- Notes -- Chapter 8: Monstrous Memories -- The Copyright of Memory -- The Unwelcome Legacy -- Autofiction as a Monstrosity -- Notes -- Chapter 9: Conclusion -- Notes -- Bibliography -- Index

"This book reconsiders a variety of material remainders from the past, in an effort to reveal the interpretive power that memory work in the present can gain from them: the everyday object of the detention center, the prison craftwork made as an important form of survival and resistance in the Chilean and Uruguayan detention centers, the personal items that belonged to the victim prior to his/her becoming victim, the bodies that emerge from mass graves, the bodies of the second generation that carry the material copies of the DNA of their disappeared parents, and the object that was once present at the scene of torture or detention and currently occupies the role of witness in the space of the museum"--

"Bell argues that the dialogue that emanate from the aesthetic realm cannot be understood through a solely art-historical approach; instead, they must be understood as part of a collective endeavour. In this sense, the 'art' of post-dictatorship is not something that belongs to art or the artists themselves, but is about how the subjectivities and imaginations of new generations engage with questions of response, ethics and justice; and, in so doing, re-align themselves in relation to the past and to the future. This book provides a valuable resource for those interested in the law, politics, art and sociology of contemporary Argentina. It will be of immense use to those studying in these areas and to those concerned more widely with transitional justice and memory politics"--

The breakdown of authoritarian rule -- The campaign for a democratic Argentina -- "With democracy one eats": the Programa Alimentario Nacional -- "Chernobyl chickens": economic planning and the Caso Mazzoron -- "Dear Mr. President": the transition in letters -- Democratic pasts, neoliberal futures: hyperinflation and the road to austerity -- Epilogue: carrying forward the promise of 1983.

Post-dictatorship Argentinian art-photography is often regarded as exemplifying a contemporary rejection of the photograph as infallible index of past presence. Instead, commentators tend to view artists' photo-essays primarily as post-photographic 'testimonies' to the compensatory or fictional aspects of an incomplete or even invented memory of the authoritarian past. While acknowledging this appeal to the poetic capacity of photography, this essay nevertheless proposes that for artists and viewers alike, the credibility of the photograph as index has not simply been discarded. Indeed, a nostalgia for an archival image which can be conflated with a material trace of past experience or even with the referent itself, has continued to inform both the production and reception of such art photography. By extension, this appeal to a residual materiality in photo-essays largely devoted to the affective realm of family grief for disappeared relatives, actually allows the photo-artists to transcend the limits of a depoliticized family frame and to re-affirm the traditional link between history and photography. Consequently, Lucila Quieto's Filiación (2013), an emblematic instance of this premise, serves, both aesthetically and thematically, to divert the viewer away from empathetic familial identification towards a reading of the exhibition as an allegory of the political violence exercised in a specific historical context.

This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of The Ohio State University Libraries. Learn more at the TOME website, which can be found at the following web address: http://openmonographs.org. ; The return from clandestine anonymity: muralist brigades, revamped and renewed -- Open-sky museums and the decolonization of urban space -- Tagging the Chilean city: graffiti as individualized and collective praxis -- Public interventions and gender disruptions: graffiteras' urban transformations -- Conclusion: Transnational incursions in Chilean street art: globalizing the local and localizing the global.

"Traumatized Subjects" examines the legacy of the mass extermination carried out during the 1936 coup against the II Spanish Republic and under the Francoist dictatorship through the lens of contemporary Spanish horror film, which I take as an index of cultural anxieties. I claim that "the Transition" is the dominant cultural process of post-dictatorship Spain, rather than a discrete historical period, and show how it is predicated upon the disavowal of mass extermination, while arguing that the emergent cultural process of the recuperation of historical memory that began with the historic mass grave exhumation in Priaranza del Bierzo in 2000 poses the first significant threat to the hegemony of the Transition since its consolidation during the failed coup attempt of 1981. Adapting notions of allegory found in the work of Walter Benjamin, Idelber Avelar, Adam Lowenstein and Michael Denning, I perform allegorical readings of what I call "the new wave of Spanish horror film" that consider each film as a variation of a master plot that frequently revolves around the loss of a family member followed by a search for the truth about the circumstances of their death or disappearance. By way of Lacanian psychoanalysis, I interpret these films as the largely unconscious dramatization of cultural conflicts around issues of memory, justice and impunity that have become central concerns in post-dictatorship Spain over the past decade. I demonstrate how each film exemplifies a distinct cultural politics that reflect their various ways of dealing with the legacy of mass extermination encoded in their scripts, and suggest that horror is a privileged genre of cinema for observing cultural battles and shifts related to historical trauma

"Southern Cone post-dictatorship generations reshape the collective memory of the dictatorial past through political activism and forms of artistic expression (cinema, literature, comics and photography). The author situates their work at the intersection of the individual and the collective: it is enabled by changes in the political context and can have a profound impact on the collective level. At the same time, these projects help artists and activists work through traumatic events individually. The first part of the book focuses on Argentina, where this generation's public interventions have broadened social involvement in remembering the past and encouraged learning from it for the sake of the present. In the second part, the author compares the exemplary achievements in Argentina with Chile and Uruguay, where political conditions are less conducive to genuine debate. "--

This article contends that September 11, 1973 saw the beginning of a counterrevolution in Chile and that this counterrevolution was not only based on the actions of President Salvador Allende between 1970 and 1973 but also on the actions of the Chilean people since the 1920s and 1930s. Lastly, that this counterrevolution has an important cultural edge. It is further argued that, since the end of the dictatorship, democracy in Chile has not fully recovered but rather that the authoritarian counterrevolution, although somewhat restrained, has continued to stand and that its cultural perspective has remained standing as well. ; Este artículo argumenta que el 11 de septiembre de 1973 se dio comienzo a una contrarrevolución en Chile, que esa contrarrevolución no sólo fue de lo obrado por el presidente Salvador Allende entre 1970 y 1973 sino de lo obrado por el pueblo chileno desde los años veinte y treinta del siglo pasado y, finalmente, que esa contrarrevolución tiene una arista cultural importante. Se sostiene, además, que, con posterioridad al término de la dictadura, no ha habido en Chile un recobro pleno de la democracia sino que la contrarrevolución autoritaria, aunque morigerada en ciertos aspectos, ha seguido en pie y que consistentemente también ha seguido en pie su perspectiva cultural.