Playful Reappropriations of Language Belonging to State Terrorism in Eva Pérez’ Diario de una princesa montonera and Ángela Urondo Raboy’s ¿Quién te crés que sos?
In Language and Silence, George Steiner (1982) portrays the experience of horror as a factor that influences language by adding gloomy and ambiguous nuances to everyday life expressions with a lasting effect. In Argentina, second-generation memoirs, i.e., literature written by descendants of people...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Investigaciones de la Facultad de Lenguas (CIFAL), Facultad de Lenguas, Universidad Nacional de Córdoba. Avenida Enrique Barros s/n, Ciudad Universitaria. Córdoba, Argentina. Correo electrónico: revistacylc@lenguas.unc.edu.ar
2017
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/CultyLit/article/view/19012 |
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| Sumario: | In Language and Silence, George Steiner (1982) portrays the experience of horror as a factor that influences language by adding gloomy and ambiguous nuances to everyday life expressions with a lasting effect. In Argentina, second-generation memoirs, i.e., literature written by descendants of people who disappeared during the last military coup, are a field where these words have a special significance. Many sons and daughters struggling for creating their own identity and finding meaning in chaos take a critical stance and try to separate the concept of the disappeared person from its solemnity, which is specially perceived in their wordplay. This essay attempts to analyse the playful use of words related to the semantic field of missing people in Diario de una princesa montonera, by Mariana Eva Pérez (2012), and ¿Quién te creés que sos?, by Ángela Urondo Raboy (2012), considering Gabriel Gatti’s concepts of “parodic post-orphans” and “inappropriate bastards.” |
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