This thesis paper explores the mixed-media MFA installation show, Family Secrets: The Secrets That Lie Within. The show is a culmination of the author’s work during her time in the MFA in Media Arts Program at Southern Illinois University Carbondale. The show uses a variety of mediums including sound, video and illustration to tell this tale of family secrets and betrayal. As a young child, the author thought her family was perfect. They gathered every week at her grandparents’ house and were very close, or so she thought. As she started to move into adulthood, the idyllic childhood seemed like a distant memory. A series of events happened that changed her family dynamic forever. In the show, Family Secrets, viewers are led through a series of scenes taken from the author’s life. Each room reveals a little more until you are faced with the family’s biggest secret.

This thesis is an ethnography of how children of Holocaust survivors interacted and connected with the March of the Living and Holocaust sites in Poland. This work explores how considering individual perspectives allows one to understand how the March works in complicated and nuanced ways to intensify connections with relatives and Jewish identity. In three chapters this work situates the experiences of four participants within theories of place-making and post-memory to consider methods they used to connect with Holocaust sites and what effect that connection had on their sense of identity.

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My dissertation, “Problemáticas del espacio en la narrativa hispanoamericana contemporánea (1990-2010)” [Problematics of Space in Contemporary Spanish American Narrative (1990-2010)], focuses on the concept of space and its articulations in a diverse corpus of written and visual narratives by contemporary Latin American authors. The problematics of spaciality are analyzed within the specific time period encompassing the last decade of the 20th century and the first decade of the 21st century, a period in which space has emerged as an important category for understanding the present. The “spatial turn”, proposed and analyzed by Michel Foucault, David Harvey, and Edward Soja, assumes that space has become a more relevant analytical category than time, due to the emergence of new technologies and media, new forms of capital flow, and because of the preeminence of the image in contemporary times. Following Henri Lefebvre’s foundational proposal, I understand space in relation to social formation and as a product of human practices rather than as an a priori category or an abstract geometrical notion independent of subjectivity and human agency. Within this framework, the problematics of space are analyzed in a corpus that includes the novels Amuleto (1999) by Roberto Bolaño, La virgen de los sicarios (1994) by Fernando Vallejo, and El asco. Thomas Bernhard en San Salvador (1997) by Horacio Castellanos Moya, and two films, Los rubios (2003) directed by Albertina Carri, and La teta asustada (2009) by Claudia Llosa. The first chapter of the dissertation lays out the theoretical framework of the concept of space and the specific socio-economical characteristics of the studied time period. The second chapter analyzes the enclosed space of Amuleto in the context of Mexico’s 1968 Tlatelolco Massacre, and proposes that a “space of the abyss” emerges with the death of a Latin American generation and the fall of the utopias in the 1960s. The third chapter compares and contrasts the films La teta asustada and Los rubios with respect to the theme of postmemory in the periods following the internal conflict in Peru and the military dictatorship in Argentina. The “space of postmemory” that arises in both films relates to the interplay between the absence/presence of the bodies of the parents – who lived the traumatic events – and the second generation that inherits the trauma. The fourth chapter examines the “spaces of escape” that emerge from La virgen de los sicarios and El asco as a possibility of escape for protagonists who face collapsed cities and states: Medellin after the death of Pablo Escobar, and San Salvador after the end of the Civil War. The three configurations of space that arise from the corpus – “space of the abyss”, “space of postmemory”, and “space of escape” – articulate crucial issues of contemporary Latin America such as the fall of modernizing utopias, trauma, postmemory, disenchantment, and the failure of the liberal state. They also bring to light three key features of contemporary spatiality: the individualization of spaces pointing to individualism as a necessary condition for new fluxes of capitalism; the reduction of diegetic spaces that relates to the concept of time-space compression proposed to account for the spatial changes of the studied period; and the appearance of spaces of refuge as a general response to the ephemeral conditions of the present. / Spanish

[pt] Esta pesquisa centra-se no estudo da soteriologia tradicional ensinada pelo protestantismo brasileiro de missão. Busca-se desenvolver o tema a partir da percepção dualista presente nesta soteriologia, bem como a concepção a-histórica da mesma e apresenta como contraponto a teologia Moltmanniana. O trabalho se desenvolve em três capítulos que buscam estruturar esta dissertação: No primeiro, descreve-se a pós-modernidade na visão de Zygmunt Bauman e a herança teológica herdada pelo protestantismo brasileiro de missão; no segundo, desenvolve-se a observação da crise de modelo soteriológico dualista presente na teologia tradicional protestante e no terceiro, a apresentação da teologia Moltmanniana na prática de um seguimento de Cristo e da Missão Integral, propondo uma visão que envolva o ser humano em sua integralidade. / [en] This research focuses on the critical study of soteriology traditionally taught by Brazilian Protestantism focused on Mission. We seek to develop this critique from the dualistic perception present in this soteriology as well as ahistorical conception of it. Moltmanniana theology is presented as a counterpoint. The work is developed in three chapters that seek to structure this thesis: In the first chapter, it is described the postmodern vision of Zygmunt Bauman and theological heritage inherited by Brazilian Protestantism focused on Mission. In the second, it is developed the observation of the dualistic soteriological model crisis in traditional Protestant theology. Finally, the third chapter presents Moltmanniana theology in a practical way concerning concepts of Following Christ and Integral Mission, proposing a vision that involves the human being in his entirety.

[pt] A dissertação propõe investigar as diferentes formas de se entender memória na literatura de Monika Maron (Berlim/Alemanha, 1941-), especialmente na obra Pawels Briefe [Cartas de Pawel] (1999). Com fortuna critica eloquente, a obra da autora impulsionou diferentes conceitos e indagações acerca do tema memória. Maron parte de um arquivo familiar para construir a narrativa pós-memorial e monta sua história-ficção-memória a partir de imagens, cartas, depoimentos e imaginação literária. No contexto geral da obra de Maron, e Pawels Briefe é caracterizado como livro central. Temas como pós-memória, memória crítica, narrativa geracional, trauma e luto são contemplados, cotejados e indagados, assim os problemas da recepção dos textos de memória. Ao se tratar de imagens justapostas ao texto narrativo, defende-se que, além de um aide-memoire, as fotografias representam a inserção do silêncio na linguagem narrativa. Para isso, parte-se da obra de Rancière e seus argumentos a favor da potência representativa da literatura e questionando o elogio do irrepresentável, procura-se incluir o silêncio como potência no terreno da linguagem, em vez de identificá-lo como aquilo que está para além dela. / [en] The thesis proposes the investigation of the various forms of understanding memory in the literary work of Monika Maron (Berlin/ Germany, 1941-), specially in Pawels Briefe [Pavels Letters] (1999). With eloquent wealth of treatises, the author’s work inspired different forms of understanding and questioning the subject of memory. Maron uses a family archive to create a post-memorial narrative and builds her historical –fictional- memorial book with pictures, letters and literary imagination. Pawels Briefe is put as a central piece in a broader view of Maron’s work. Subjects like post-memory, critical memory, generational narrative, trauma and grief are discussed, compared and questioned here. So are the issuesregarding the reception of memory texts. Addressing the juxtaposition of images and narrative, I support that photographic images represent not only an aide-memoire but also the inlcusion of silence in prose. Based on the works of Rancière and his arguments in favor of the representative potentiality of literature and questioning the eulogy of the irrepresentable, its objective is to include silence as a force in the field of language, instead of identifying it as something that is beyond it. In Pawels Briefe, by Monika Maron, this minute’s silence can be identified in the insertion of photographic pictures.

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L’Uruguay des années 60 plonge dans une crise économique qui dégénère rapidement en conflit opposant le Mouvement de libération nationale-Tupamaros (MLN-T) à l’État alors gouverné par Juan María Bordaberry du Parti Colorado. La radicalisation du MLN-T et la montée de la répression étatique accordent un pouvoir grandissant aux Forces armées amenant le coup d’État du 27 juin 1973 et l’instauration d’une dictature civique-militaire. Les douze prochaines années sont marquées par la répression, la censure, la violence et de nombreuses disparitions. L’Uruguay ne tarde pas à joindre l’Opération condor : large réseau intercontinental mené par les États-Unis ayant pour but de traquer et anéantir les opposants politiques. Les élections de 1985 marquent la fin de la dictature et le retour à la démocratie. Cependant, au lendemain de la victoire de Julio María Sanguinetti du parti Colorado, une lutte s’installe au cœur de la société quant à la responsabilité de la chute du pays. D’un côté, on accuse les Forces armées d’abus de pouvoir et crimes contre l’humanité. De l’autre, on défend les militaires qui auraient sauvé le pays d’une menace « subversive ». Cette étude analyse le processus transitionnel de l’Uruguay qui, contrairement aux autres pays latino-américains, ne se lance pas dans une recherche de vérité au retour de la démocratie. L’Uruguay amnistie plutôt les Tupamaros détenus durant la dictature, tout en promulguant la Loi de caducité qui accorde l’impunité aux militaires. En recensant différents regards portés sur le passé récent, nous étudierons l’évolution des discours mémoriaux tels qu’ils s’expriment dans la culture populaire et l’espace public. / In the 1960s, Uruguay endured an economic crisis that quickly turned into a conflict between the National Liberation Movement-Tupamaros (MLN-T) and the state then ruled by Juan María Bordaberry of the Colorado Party. The radicalization of the MLN-T and the rise of State repression granted growing power to the Armed Forces, leading to the coup d'État of June 27, 1973 followed by the establishment of a civic-military dictatorship. The next twelve years were marked by repression, censorship, violence and numerous disappearances. Like other Latin American Cold War dictatorships, Uruguay joined Operation Condor: a South American network led by the United States with the goal of tracking down and annihilating political opponents. The 1985 elections marked the end of the dictatorship and return of democracy. However, in the aftermath of the victory of Julio María Sanguinetti of the Colorado party, a struggle erupted in the heart of society over who was to blame for the country’s fall into authoritarianism, state repression and violence. On the one hand, the Armed Forces were accused of abuse of power and crimes against humanity. On the other, some defended the military as though they had saved the country from the “subversive” threat. This study analyzes Uruguay’s transitional process which, unlike its Latin American counterparts, has not included a formal mechanism for the search for truth upon the return of democracy. Uruguay rather chose to amnesty the Tupamaros detained during the dictatorship, all the while promulgating the Law of Caducity which granted impunity to the military. By collecting different perspectives on the recent past through art and cultural productions produced by civil society after le return du democracy, this thesis studies the evolution of memorial speeches as they are expressed in public spaces. Our goal is to better understand how memorial discourses emerge in a country where democratic remedies have confirmed impunity.