Dos tipos de memorias se entrecruzan en estas páginas: por una parte las memorias feministas que intentan establecer genealogías antipatriarcales y, por otra parte, las memorias que denuncian los mecanismos de violencia estatal. Estas memorias no deben ser pensadas separadamente sino, por el contrario, a partir de continuidades y quiebres. Escritoras, criticas culturales, testimoniantes, feministas, campesinas, madres, abuelas, defensoras de derechos humanos amas de casa, militantes, exiliadas, detenidas, trabajadoras, todas estas mujeres escriben sus memorias y sus genealogías en diferentes espacios. Este libro analiza la relación entre el género y el cuerpo en la escritura feminista y en testimonios de mujeres latinaomericanas de las últimas décadas del siglo XX e intenta recuperar su potencialidad nómade.

Relectura de narrativas testimoniales de sobrevivientes de centros clandestinos de detención y de ex presos políticos en Argentina, así como el rol central que desempeñaron tanto en las luchas contra la impunidad como en el desmantelamiento de sus marcas interpretativas. Ademas de la importancia de los sobrevivientes como testigos (en relación directa con la justicia), este libro explora el papel de sus testimonios fuera del escenario jurídico, el el transito por múltiples umbrales que han servido para cancelar, recortar y poner en duda sus relatos, y analiza no solo la labor de dichos sobrevivientes en relación con el pasado y las denuncias sobre el mismo, sino ademas en la reconstrucción presente de sus memorias y, sobre todo, de las pautas interpretativas para ponerlas a salvo. 

Óyeme con tus ojos examina la intrusión de la voz en la mirada cinematográfica y las intersecciones (y rupturas) de la imagen-sonido  desde una perspectiva feminista. De diferentes formas, las cineastas argentinas Maria Luisa Bemberg, Lita Stantic, Lucrecia Martel, Albertina Carri, Maria Victoria Menis, Lucía Puenzo, Sabrina Farji, Paula de Luque, Anahi Berneri, Sandra Gugliotta y Gabriela David exploran la mirada a través de las continuidades, intrusiones, impertinencias, armonías y desincronizaciones de la voz.  Este libro recorre diferentes voces y sus modulaciones, incluyendo susurros, gritos, cantos, ecos, respiración, resonancia, suspiros y la voz trascendente, la voz narrativa, la voz silenciada, la voz articulada y no articulada, y lo que no es nada de lo anterior. Estas intervenciones efímeras en el lenguaje cinematográfico no crean otro régimen visual o auditivo pero señalan algunos de los intersticios a través de los cuales se hacen posibles los disensos frente a las normas de lo visible y lo audible y muestran los límites (las inseguridades, las impotencias, las vulnerabilidades) de las imágenes y las voces dominantes.  

Hear Me With Your Eyes

2022

Hear Me with Your Eyes examines the intrusion of the voice into the cinematographic gaze, as well as the intersections and ruptures of the sound-image, from a feminist perspective in a corpus of films directed by Argentine filmmakers, including Maria Luisa Bemberg, Lita Stantic, Lucrecia Martel, Albertina Carri, Maria Victoria Menis, Lucia Puenzo, Sabrina Farji, Paula de Luque, Anahi Berneri, Sandra Gugliotta, and Gabriela David. These filmmakers explore the visual realm through the continuities, intrusions, irrelevancies, harmonies, and desynchronizations of the voice and through different voices and modulations, including whispers, screams, singing, echoes, breathing, resonance, and sighs. These ephemeral interventions in cinematographic language do not create another visual or auditory regime, but they do show the limits (insecurities, ineffectiveness, vulnerabilities) of dominant images and voices and point out some of the interstices through which dissent against patriarchal and cis-heteronormative norms of the visible and audible are possible.

(Translated by Andrea Rosenberg and Ana Forcinito)

Un estudio transdisciplinario del proceso cultural y artístico de la justicia transicional en Uruguay, después de la dictadura militar (1973-1985). Este libro discute la memoria no como la reconstrucción de algo que ha sido desmontado o la recuperación de algo que se ha perdido, sino como un proceso de luchas y construcciones, que siempre implican la existencia de márgenes, tanto visibles como invisibles Las intermitencias exploradas en este libro están en diálogo—y a menudo chocan—con sentidos más visibles y oficiales sobre la memoria, la verdad y la justicia. A través de un corpus de textos, fotografías y películas, este libro analiza la poética de la construcción de la memoria, con especial énfasis en aquellas que subvierten la cohesión (o indiscutible) de las interpretaciones del pasado y en su lugar proponen variaciones estéticas e interpretativas para abordar el pasado reciente, y abrir espacio a nuevos  sujetos de la memoria y las luchas contra la impunidad.

This volume examines the impact of human rights on Latin American(ist) cultural studies by considering juridical and social theories as well as cultural, artistic, and literary practices. The present volume is divided into three parts. The first is devoted to theoretical and philosophical issues pertaining to human rights in a global frame and in Latin America. The second part focuses on cultural-juridical approaches to the study of human rights and explores impunity both as a legacy of dictatorship regimes and as a constitutive part of liberal democracies. The third section deals with the study of specific cultural manifestations in literature, film, and visual arts. 

The present volume examines the role of Latin American and Iberian cultural critique in the debates on human rights and focuses on some of the obstacles and challenges that both its theory and practice confront today. The essays included in this volume address those issues in four interrelated areas: 1) the struggle for a language that represents (problematically or not) human rights violations in international and domestic laws; 2) the issue of gender and human rights, especially the violation of the rights of women and children; 3) the competing tensions between different kinds of rights discourses; and 4) the need to reconsider cultural and economic rights as part of the human rights debate. 

The goal of this volume is to explore the different layers of memory in relation to the discourse of human rights in Latin America and the Iberian Peninsula. In this sense, this volume deals with the many faces of impunity that for so many years—and even in present times—have created new rationalizations to justify the violence of the past or cover up new manifestations of state-sponsored violence (and violence through the acquiescence of the state). All the different layers of memory discussed in this volume––from images, still and moving, well defined and blurred; to places, traces, metaphors, and metonymies; to subjects of memory, testimonial accounts, objects, and spaces; to gaps; to temporalities; to narratives and to silences––rethink the link between memory and human rights through the images and narratives that are used to reconstruct the frames of memory and imagine the new angles and visions in the struggles for justice.

This book recognizes and makes visible gender-based violence during the military dictatorships in Argentina (1976–1983), Uruguay (1973–1985), Chile (1973–1990), and Paraguay (1954–1989). Many of the included essays account for an imperative need to remove the sexual marks of state repression from the hidden places in which they have been placed by a patriarchal understanding of violence. Another central aspect of this book is to explore the web of interpretations that silence and conceal gender-based violence. In this sense, this volume examines the struggles that, in the present, demand the recognition of gender-based violence in the context of state terrorism as crimes against humanity.

This interdisciplinary volume examines different forms of intervention in the immigration landscape during recent decades in the Americas, with an emphasis on the new debates in the Central America–Mexico–United States–Canada corridors. It also addresses how we discuss immigration, focusing not so much on policies as on a variety of local practices that attempt to transform ways of seeing and ways of understanding, either through artistic practices or academic research.

This volume addresses how the marks of dictatorship and armed conflict are experienced and transmitted by the second generation of memory in Latin America, and how the second generation visualizes the different angles through which the collective memories of war and political repression are evoked, recreated, and narrated. Whether seen from family filiations (or from their rupture), from new filiations (or even from the absence of them), the texts, narratives, and films analyzed in this volume offer a journey through testimonial practices, science fiction, cinema, theater, interviews, and poetry, as well as through affective cartographies, explorations of past and present horrors, border crossings, diglossias, and futuristic scenes in video games from different corners of the continent, as they revisit the collective memories that circulated transgenerationally at the intersection of intimate recollections.