Jorge Asís's narrative voices are transformed from on text to another. The Arab-Argentine author creates multiple narrators that interact with one another to further develop their textual identities. Discussions of authorial and narrative voices often coalesce into broad statements of alter-egos and pseudonyms that do not fully consider the nexus between them with writing practices. This study analyzes the author-narrator and narrator-narrator bonds in Argentine Orientalist, Mahyar, Costumbrista, and Testimonial writing practices.

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In this qualitative research project, I explore the daily lived experiences of five Caribbean students studying at a rural university in the Blue Ridge Mountains. I investigate the personal challenges encountered by young adult Caribbean students and focus on their perspectives and coping strategies as they negotiate the racial binary and sociocultural norms found in the United States. I present my research here in two manuscripts. In manuscript one, Transcultural Adaptations: Caribbean Students at U.S. Universities, framed both by my use of testimonio as method (Haig-Brown, 2003; Pérez Huber, 2009) and the composite lens formed by my use of bricolage (Kincheloe, 2001; Kincheloe, 2004; Kincheloe, McLaren, and Steinberg, 2012), I look at how all these factors influence their academic experiences and their perception and performance of the Self. In doing so, I highlight key aspects of the community experience and add to the conversation surrounding the adaptation of international students to U.S. universities. In manuscript two Interrogating Whiteness: The View from Outside, I delve more deeply into one aspect of their adaptation by interrogating one participant's perspectives on whiteness. I use critical autoethnography (Boylorn and Orb, 2014; Tilley-Lubbs, 2016), and the call-and-response tradition (Hebdige, 1987; Toussaint, 2009) common in Trinidad and Tobago and in the African diaspora to present my exploration of his perspectives. I present his perspectives using the third person voice, followed by an examination of my own ways of knowing, to highlight the questioning and internal conflict that emerged as a result of these conversations on whiteness. I share my epiphanic experience (Denzin, 2013; 2014) in the hopes of establishing discourse and resonance with my reader in this deconstruction of my way of understanding the world. / Ph. D.

El presente artículo discute el destino que tienen algunas memorias peligrosas asociadas al “conflicto armado interno” en el Perú. Mi estudio se centra en las experiencias con la violencia política en la comunidad campesina de Sarhua y sus representaciones en la serie de tablas pintadas Piraq Causa (Quién es causante?). Un análisis detallado de este testimonio visual revela cuáles son las memorias peligrosas a las que se les ha negado representación. Sostengo que estos silencios y ausencias dan expresión a “huecos traumáticos” vinculados a la violencia fratricida y al apoyo inicial de la comunidad a Sendero Luminoso. Asimismo mantengo que la serie Piraq Causa refleja el secretismo magnificado que existía en la comunidad de Sarhua con respecto a aquellos eventos que acordaron de manera deliberada “recordar para olvidar”. Desde esa perspectiva, propongo que los vacíos percibidos en la narrativa pictórica provocan el desenmascaramiento de lo “secretamente familiar” en Sarhua. En esa medida, Piraq Causa desenmascara tanto como afirma el secretismo sobre las memorias traumáticas de la violencia política. / This article discusses the fate of dangerous memories of war associated with the “internal armed conflict” in Peru. It focuses on the Andean community of Sarhua in Ayacucho and their experiences with political violence as depicted in a collection of paintings, Piraq Causa (Who Is Still to Blame?). A close examination of this visual testimonio reveals that some dangerous memories have been denied representation. I suggest that these become silences and absences that give expression to a “traumatic gap”, which includes memories of fratricidal violence and the community’s initial endorsement of the Maoist Shining Path. I argue that Piraq Causa reflects the magnified secrecy around events that the community agreed to deliberately “remember to forget”. In so doing, I also propose that the perceived gaps in the pictorial narrative provoke the unmasking of what is “secretly familiar” in Sarhua. To that extent, Piraq Causa exposes as much as it affirms the secrecy around traumatic memories of war.

This study examines the representations of Salvadorans and other Central Americans in film, visual, and written texts used by the Dallas chapter of CISPES during the eighties. Drawing from Susan Sontag’s scholarship on the ideological workings of war photography and Elizabeth Barnes’s work on sentimental literature, I show that pamphlets created and distributed by CISPES relied on over-saturated images and written descriptions of state-sanctioned physical violence inflicted on Central Americans in order to generate sympathy for the other. While the representations of Central Americans in CISPES pamphlets as feminized and docile subjects were strategic in showing the oppressive conditions that the U.S. helped fund, these images also overlooked the fact that Central Americans played essential roles in their fight against their countries repressions and U.S. foreign policies. As such, I turn to a medium where Salvadorans had the opportunity to speak out about their own experiences during the U.S.-backed civil war. I analyze the Dutch documentary film El Salvador: Revolution or Death? (1980) and argue that individuals showed their subjectivities and agency even when introduced as victims of state-sanctioned violence. This documentary did not solely rely on over-saturated images of violence on the Central American other—it provided peasants with an international platform to represent themselves, albeit still through a mediated form. In-between harrowing scenes showcasing dead and brutalized bodies were also instances where Salvadorans challenged assumptions of their political ineptness and reminded U.S. residents of their own prominence within the Central American solidarity movement. / text

RESUMEN Con base en dos concepciones teóricas sobre la literatura de testimonio — una relativa a la producción de América Latina, entre 1960 y 1980, y otra referente al campo de reflexión sobre la Shoah — este trabajo considera a Roque Dalton como autor de literatura de testimonio no únicamente por su obra Miguel Mármol. Los sucesos de 1932 El Salvador, sino también por su poesía. Esta representa la vivencia de la catástrofe con los mismos valores éticos y los mismos procedimientos estéticos que otros autores de otras tradiciones literarias utilizaron para representar la violencia del S. XX. Para demostrar esta tesis, que coloca al autor salvadoreño en diálogo con escritores tanto de América Latina como de Europa, analizamos un corpus de poemas de su obra Taberna y otros lugares, Premio Casa de las Américas, La Habana, Cuba, 1969. / RESUMO Com base em duas concepções teóricas sobre a literatura de testemunho – uma relativa à produção da América Latina, entre 1960 e 1980 e outra referente ao campo de reflexão sobre a Shoah – este trabalho considera Roque Dalton como autor de literatura de testemunho não apenas por sua obra Miguel Mármol. Los sucesos de 1932 en El Salvador mas também por sua poesia. Esta representa a vivência da catástrofe com os mesmos valores éticos e os mesmos procedimentos estéticos que outros autores de outras tradições literárias utilizaram para representar a violência do século XX. Para demonstrar esta tese, que coloca o autor salvadorenho em diálogo com escritores tanto de América Latina como de Europa, analisamos um corpus de poemas de sua obra Taberna y otros lugares, Prêmio Casa de las Américas, la Habana, Cuba, 1969.

Made available in DSpace on 2016-03-15T19:45:22Z (GMT). No. of bitstreams: 1 Priscila Ferrari.pdf: 467803 bytes, checksum: e2c5814e29752b2208239ce847dd64ae (MD5) Previous issue date: 2011-02-24 / Fundo Mackenzie de Pesquisa / La presente investigación se constituye en un estudio de la obra Memórias de um Sobrevivente (2001), de Luiz Alberto Mendes, observando los mecanismos de una construcción discursiva hibrida. En la obra el sujeto de la enunciación cuenta su trayectoria desde la infancia hasta los primeros años de condenación a la cárcel, en un período que va de los años 50 a los 80, en un intento, según sus afirmaciones, de entender los acontecimientos que marcaron su existencia. En ese relato, asumido como autobiográfico, encontramos peripecias narrativas relacionadas con la rutina de las callles, de los reformatorios y de las prisiones por las cuales el autor transitó, construyendo así un importante testimonio al respecto de un cotidiano marginal. Además de los elementos que están anclados en el mundo real, nos damos cuenta de que el relato de Mendes presenta un trabajo con el lenguaje, transformando a sí mismo en personaje y los hechos de su vida en un discurso literario, cuidadosamente elaborado y bien articulado, que despierta el interés del lector del comienzo al fin. En el análisis propuesto utilizamos como apoyo teórico las cuestiones concernientes a la literatura marginal, al testimonio y a los géneros confesionales, mostrando que todas esas formas de expresiones se interpenetran en la obra de Mendes. / A presente pesquisa constitui-se no estudo da obra Memórias de um Sobrevivente (2001), de Luiz Alberto Mendes, observando os mecanismos de uma construção discursiva híbrida. Na obra, o sujeito da enunciação conta sua trajetória desde a infância até os primeiros anos de condenação ao cárcere, em um período que vai dos anos 50 aos anos 80, em uma tentativa, segundo suas afirmativas, de entender os acontecimentos que marcaram a sua existência. Nesse relato, assumidamente autobiográfico, encontramos peripécias narrativas relacionadas à rotina das ruas, dos reformatórios e das prisões, pelas quais o autor transitou, construindo assim um importante testemunho a respeito de um cotidiano marginal. Além dos elementos que estão ancorados no mundo real, percebemos que o relato de Mendes apresenta um trabalho com a linguagem, transformando a si mesmo em personagem e os fatos de sua vida em um discurso literário, cuidadosamente elaborado e bem articulado, que desperta o interesse do leitor do começo ao fim. Na análise proposta utilizamos como apoio teórico as questões referentes à literatura marginal, ao testemunho e aos gêneros confessionais, mostrando que todas essas formas de expressão perpassam a obra de Mendes.

El testimonio de los actores, presente en autobiografías y memorias, en biografías de las que fueron partícipes, en entrevistas, espacios audiovisuales y otro tipo de documentos, constituye un instrumento de gran valor para conocer de primera mano cómo desempeñaron su oficio y otras cuestiones de interés relacionadas con la historia teatral y la historia cinematográfica de la España contemporánea. Esta tesis doctoral se ha centrado en el desarrollo del oficio actoral a partir de los argumentos de veinte intérpretes que sobresalieron en la profesión a partir de 1939, alcanzando los más en activo el fin de la dictadura franquista, continuando muchos de ellos su labor durante el último cuarto del siglo XX e incluso unos cuantos persistiendo en ella en los comienzos del XXI y hasta nuestros días.

Between 1994 and 2012, the Zapatista Army of National Liberation (EZLN) established a contested zone of exception to neoliberal governance in southern Mexico and women's-rights-as-human-rights universalism reshaped international development and activist discourse. Within this context, Ana, Beatriz, and Celia González Pérez pressed claims against a group of Mexican Federal Army soldiers for rape at a military checkpoint in 1994. A rare instance of first-person denunciation of rape warfare, the Tseltal-Maya sisters' own powerful representation of the physical and procedural violations committed against them forms the starting point of this analysis, which proceeds from there, chapter by chapter, through communal, national, and international representations. Centering the women's speech, then moving to what are conventionally understood as broader fields of discourse produces new ways of understanding violence in relation to nation, culture, and gendered sociality. Though in 2001 the human rights commission of the Organization of American States upheld the women's claims, as of this writing (2012) the Mexican state has neither awarded reparations nor prosecuted the accused. I argue here that the women's unmet demands for collective and individual justice produce a novel language of protest which I call denuncia (denouncement) rather than testimony. Denuncia, I argue, puts the physical and the social body at the center of claims against sexual violation; enacts coraje (courage, rage) rather than petitions for recognition of truth; exposes the nationalist ideology of racial mixing that informs the production of testimony in Mexico, and establishes new audiences for its own reception despite the regimes of everyday violence it foregrounds. Formulated amid military occupation, denuncia exposes the gendered intimacy--control of the food supply, inhabitation of public-private architectural spaces, colonization of local enmities--that gave rise to military rape, which I call here "domestic violence." Denuncia emerges to refute the neoliberal discourse that links indigenous culture, gender, and violence just when the material basis of indigenous livelihood is under siege. This dissertation's method would not have been possible without almost twenty years' engagement with Tseltal and Tojolabal-Maya men and women who have formed part of the Zapatista movement. This long-range perspective has engendered a form of feminist scholarly accountability that cultivates listening to ground critique on the terrain of self-determination. / text

This project seeks to address issues in cultural politics brought on by difficulties in cross-cultural communication, particularly as these problems manifest themselves in twentieth century Latin American testimonial narratives. By developing a critical line of questioning drawn from Gayatri Spivak's influential article "Can the Subaltern Speak," one aim herein is to analyze and describe the ways in which the narrative, Me Llamo Rigoberta Menchú Me Nació la Conciencia, translated into English as I, Rigoberta Menchú: An Indian Woman in Guatemala, exemplifies the incommensurable nature of cross-cultural discursive attempts. This is done through a twofold method: one, by placing heavy emphasis on the role of the reader as constitutor of meaning in a (textual) discursive transaction between culturally-different agents, and two, by drawing attention to the role of historically-determined interpretive frameworks in the reception and interpretation of Subaltern ennunciative acts. The latter, I argue, is necessary for gaining an adequate understanding of receiving and conveying meaning within cross-cultural paradigms. To this end, as an example of the problems, contextual and methodological, that arise in such communicative attempts between cultures, I take up the academic controversy stirred up by the publication of David Stoll's Rigoberta Menchú and the Story of All Poor Guatemalans. Lastly, I investigate the socio-political implications of such failures in intercultural communication, giving rise to secondary lines of questioning such as finding ways to create favorable conditions for the possibility of genuine cross-cultural dialogue. One possibility, I suggest, is adopting a method of reading/listening which, borrowing from phenomenology, is continually on the way, always unfinished, and lets the life of the subaltern emerge by remaining open, not just to what is said, but to what is left unsaid.