Ese grito no durará más que el pecado: Memoria, violencia y anacronismo en la novela El Farmer de Andrés Rivera
Cargando...
Fecha
Authors
Título de la revista
ISSN de la revista
Título del volumen
Editor
Universidad Nacional de Rosario. Facultad de Humanidades y Artes. Escuela de Letras
Resumen
Descripción
La novela El farmer (1996)
de Andrés Rivera se construye como
ficción de la memoria, a través de las
evocaciones del narrador,
ficcionalización de Juan Manuel de
Rosas durante su exilio. En algunos
episodios, que aparecen signados por la
violencia del pasado, irrumpe lo que
Didi-Huberman, Rancière y otros han
denominado anacronismo: quiebres en la
causalidad temporal, saltos y
reminiscencias entre tiempos
heterogéneos. El objetivo del presente
artículo será reflexionar sobre esas
irrupciones anacrónicas en las
evocaciones de la violencia, en tres
momentos clave de la novela donde el
grito, que se explicita como forma de
lenguaje, remite a otros episodios de
igual tenor en la historia argentina:
guerras, matanzas, fusilamientos,
genocidios; golpes
The Andres Rivera’s novel The farmer (1996) is built as a fiction of the memory, through the narrator evocations, which is a fictionalization of Juan Manuel de Rosas during his exile. In some episodes, which appear marked by the violence of the past, emerges what Didi-Huberman, Rancière and others have called anachronism: fractures in temporal causality, jumps and reminiscences between heterogeneous times. The objective of this article will be to think over these anachronistic irruptions in the evocation of violence, in three central moments of the novel in which the scream, explicit as a form of language, refers to other episodes of equal tenor in argentine history: wars, killings, executions, genocides; shocks
The Andres Rivera’s novel The farmer (1996) is built as a fiction of the memory, through the narrator evocations, which is a fictionalization of Juan Manuel de Rosas during his exile. In some episodes, which appear marked by the violence of the past, emerges what Didi-Huberman, Rancière and others have called anachronism: fractures in temporal causality, jumps and reminiscences between heterogeneous times. The objective of this article will be to think over these anachronistic irruptions in the evocation of violence, in three central moments of the novel in which the scream, explicit as a form of language, refers to other episodes of equal tenor in argentine history: wars, killings, executions, genocides; shocks
Palabras clave
Citación
Colecciones
Aprobación
Revisión
Complementado por
Referenciado por
Licencia Creative Commons
Excepto donde se indique lo contrario, la licencia de este ítem se describe como https://creativecommons.org/licenses/by-sa/4.0/