В этой важной книге один из ведущих латиноамериканских критических теоретиков анализирует использование и злоупотребление памятью после социальной и политической травмы, вызванной диктатурой Пиночета в Чили. Сосредоточившись на периоде 1990-2015 годов, Нелли Ричард осуждает политику и эстетику забвения, лежащие в основе как затянувшегося перехода от диктатуры, так и отрицания справедливости для ее жертв и выживших. Каковы опасности и социальная цена культуры забвения? Какие формы принимают воспоминания о несправедливости в недавно сформированных демократиях? Как можно примирить историю насилия и этику возмещения в поставторитарных обществах? Рассматривая эти и другие вопросы, Ричард разоблачает злоупотребления прошлого и настоящего, в то же время обращая внимание на остатки памяти, проявляющиеся в уличных протестах, литературе и СМИ, а также в художественных практиках - от архитектуры и городского дизайна до инсталляции и кино. Хотя культурные артефакты могут быть мощными средствами сопротивления и критики, Ричард утверждает, что они также могут сотрудничать с институциональным и политическим забвением. Как в Чили, так и за ее пределами, Ричард резко критикует то, как авторитарные режимы и неолиберальные государства подрывают критический потенциал памяти. В эпоху сейсмических политических перестановок в Латинской Америке и мире книга Eruptions of Memory. The Critique of Memory in Chile, 1990-2015 убедительно доказывает этическую, политическую и эстетическую ценность памяти.
In this groundbreaking book, Nelly Richard, one of Latin America’s pre-eminent critical theorists, engages with the abuse and use of memory in reaction to the Augusto Pinochet dictatorship in Chile. By focusing on the time-span from 1989 to 2014, she investigates the role that politics plays in shaping the ways people remember and forget. Richard investigates not only what happens to memories as time continues to pass, but also what art can do to both combat the tendencies of an authoritarian past and create new understandings of history.
Art, as does philosopher of art Georges Perec, is an antécedent to resistance any place there exists forces that would deny its freedom. It is where the meaning of action is already established. As practitioner Mario Puzo put it, “A look into the eyes of an old man and his smile reminds me of my father, my youth, the sun in Janu-ary”. Many of Chile’s non-violent acts of resistance committed as a form of.********critical action* had military intolerance against them as their animus. Even today, memory and art continue to debate over behalf of liberty or subjection, bringing to life alternatives that might transcend a story already written by the dominant narrative, one whose end has yet to be known. If we rearrange the pages of time, then remarkably those in historical abeyance come alive again and must be followed to their ends…But when those roles are reversed, when the time perspective — the heroism, martyrdom, liberation — becomes negated, it is then that we have an ethical obligation to imagine a new literary conclusion and, perhaps, to make it rehearsable to ourselves.
Электронная Книга «Eruptions of Memory. The Critique of Memory in Chile, 1990-2015» написана автором Nelly Richard в году.
Минимальный возраст читателя: 0
Язык: Английский
ISBN: 9781509532292
Описание книги от Nelly Richard
In this important book, one of Latin America’s foremost critical theorists examines the use and abuse of memory in the wake of the social and political trauma of Pinochet’s Chile. Focusing on the period 1990–2015, Nelly Richard denounces the politics and aesthetics of forgetting that have underpinned both the protracted transition out of dictatorship and the denial of justice to its survivors and victims. What are the perils and social costs of a culture of forgetting? What forms do memories of injustice take in newly formed democracies? How might a history of violence and an ethics of reparation be reconciled in post-autocratic societies? In addressing these and other questions, Richard exposes the abuses of the past and the present while also attending to the residues of memory that are manifested in street protests, literature, and the media, and in artistic practices from architecture and urban design to installation and film. While cultural artifacts can be powerful devices for resistance and critique, Richard argues that they can also be complicit in reproducing and collaborating with forms of institutional and political oblivion. Both within Chile and beyond, Richard offers a trenchant critique of how authoritarian regimes and neoliberal states whittle away at memory’s critical capacity. At a time of seismic political realignments in Latin America and internationally, Eruptions of Memory makes a powerful case for the ethical, political, and aesthetic value of memory.
