Playful Memories

The Autofictional Turn in Post-Dictatorship Argentina
Besorgungstitel | Lieferzeit:3-5 Tage I
Jordana Blejmar
326 g
210x148x13 mm

A multimedia and interdisciplinary study of the use of autofiction, black humour, parody and playful memories exercised by the post-dictatorship generation in Argentina  Analyses a diverse array of art forms and cultural languages that use humour and non "traditional" aesthetic strategies and languages to confront the atrocities of the past
Challenges and broadens current canonical theoretical paradigms pertaining to Memory and Trauma Studies, providing a new conceptual framework for understanding the legacies of the Argentine and other Latin American dictatorshipIdentifies a new generation of artists in Argentina, many children of disappeared parents, who blend fact and fiction in their cultural memories of the dictatorship
1.The Autofictional Turn, Playful Memories of Trauma and the Post-Dictatorship Generations.- 2.Toying with History in Albertina Carri's Los rubios.- 3.Self-fictionalization, Parody and Testimony in Diario de una princesa montonera - 110% Verdad and Montonerísima.- 4.Happily Ever After? Guerrilla Fables and Fairy Tales of Disappearance.- 5.Lucila Quieto's Ludic Gaze.- 6.The Defamiliarized Past in Félix Bruzzone's Comical Autofictions.- 7.Monstrous Memories.- Conclusion.
This volume examines the blending of fact and fiction in a series of cultural artefacts by post-dictatorship writers and artists in Argentina, many of them children of disappeared or persecuted parents. Jordana Blejmar argues that these works, which emerged after the turn of the millennium, pay testament to a new cultural formation of memory characterised by the use of autofiction and playful aesthetics. She focuses on a range of practitioners, including Laura Alcoba, Lola Arias, Félix Bruzzone, Albertina Carri, María Giuffra, Victoria Grigera Dupuy, Mariana Eva Perez, Lucila Quieto, and Ernesto Semán, who look towards each other's works across boundaries of genre and register as part of the way they address the legacies of the 1976-1983 dictatorship. Approaching these works not as second-hand or adoptive memories but as memories in their own right, Blejmar invites us to recognise the subversive power of self-figuration, play and humour when dealing with trauma.

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