Mournings, fears and fiction in post-war peru
The narrative of intestine wars in Peru is molded in discourses of various cultural traditions. Some of these “criollo” works have come to be renowned in a time thirsty of “past present” (Huyssen). The imagery is nurtured by testimonial narrative, which is the building principle in fictional works....
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro Universitario Regional Zona Atlántica - Universidad Nacional del Comahue - Argentin
2017
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| Acceso en línea: | http://revele.uncoma.edu.ar/index.php/Sociales/article/view/1433 |
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| Sumario: | The narrative of intestine wars in Peru is molded in discourses of various cultural traditions. Some of these “criollo” works have come to be renowned in a time thirsty of “past present” (Huyssen). The imagery is nurtured by testimonial narrative, which is the building principle in fictional works. My purpose is to contrast the figures of mourning in two works: Iván Thays novel Un lugar llamado Oreja de Perro, and Claudia Llosa’s film La teta asustada. In Thays’s work, the main character dives himself in the world of the dead, where he frees himself of the gloom brought by his personal ghosts. Fausta, in contrast, must rid herself of her mother’s body and in the journey she meets the open. |
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