The turns in La sangre de la aurora: The aesthetic of fragment and the remain

The border of what is recognizable and sensitive, and what it is not, are delimited in the dispute between the word and the scream; the sentence and the noise (Rancière, 2011). In the historic account it is configurated and organized what remains inside and outside. From the Final Report (2003), abo...

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Autor principal: Peña Iguarán, Alina
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro Interdisciplinario de Literatura Hispanoamericana (CILHA) 2020
Materias:
Estética
Testimonio
Cuerpo
Violencia de género
Horror
Aesthetic
Testimony
Body
Gender violence
Acceso en línea:https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/3291
Aporte de:
Cuadernos del CILHA de Universidad Nacional de Cuyo
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record_format ojs
institution Universidad Nacional de Cuyo
institution_str I-11
repository_str R-112
container_title_str Cuadernos del CILHA
language Español
format Artículo revista
topic Estética
Testimonio
Cuerpo
Violencia de género
Horror
Aesthetic
Testimony
Body
Gender violence
Horror
spellingShingle Estética
Testimonio
Cuerpo
Violencia de género
Horror
Aesthetic
Testimony
Body
Gender violence
Horror
Peña Iguarán, Alina
The turns in La sangre de la aurora: The aesthetic of fragment and the remain
topic_facet Estética
Testimonio
Cuerpo
Violencia de género
Horror
Aesthetic
Testimony
Body
Gender violence
Horror
author Peña Iguarán, Alina
author_facet Peña Iguarán, Alina
author_sort Peña Iguarán, Alina
title The turns in La sangre de la aurora: The aesthetic of fragment and the remain
title_short The turns in La sangre de la aurora: The aesthetic of fragment and the remain
title_full The turns in La sangre de la aurora: The aesthetic of fragment and the remain
title_fullStr The turns in La sangre de la aurora: The aesthetic of fragment and the remain
title_full_unstemmed The turns in La sangre de la aurora: The aesthetic of fragment and the remain
title_sort turns in la sangre de la aurora: the aesthetic of fragment and the remain
description The border of what is recognizable and sensitive, and what it is not, are delimited in the dispute between the word and the scream; the sentence and the noise (Rancière, 2011). In the historic account it is configurated and organized what remains inside and outside. From the Final Report (2003), about Human rights violations perpetrated during the conflict within Shining Path and the Peruvian State Armed Forces (1980-2000), the Commission of Truth and Reconciliation bolded the use of sexual violence as a strategy of control. In this sense, the body of the women become a symbolic territory to delimit and reinforce social order (Segato, 2014). The present paper inquires how La sangre de la aurora (2013) by Claudia Salazar, essays different aesthetic turns to break the social frames that supports the official representation of history; and calls the catastrophe as a mean to configurate violence. Also, it articulates what has been acknowledged as noise. The paper explores, based on the concept remain (Agamben, 2006), the turns in contemporary literature when it uses different sources and research methodologies to approach the horror in contexts of violence. Among these remains are memory, archives, and testimonios.
publisher Centro Interdisciplinario de Literatura Hispanoamericana (CILHA)
publishDate 2020
url https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/3291
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