Los giros de La sangre de la aurora : la estética del fragmento y el resto

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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Bibliographic Details
Main Author: Peña Iguarán, Alina
Format: Online
Language:spa
Published: Centro Interdisciplinario de Literatura Hispanoamericana (CILHA) 2020
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Online Access:https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/3291
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Summary: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.