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008 161228s2016 sz | s |||| 0|eng d
020 |a9783319409641|9978-3-319-40964-1
024 7 |a10.1007/978-3-319-40964-1|2doi
049 |aTürk Dil Kurumu Kütüphanesi
050 4|aGN562-564
072 7|aJFC|2bicssc
072 7|a1KL|2bicssc
072 7|aSOC008050|2bisacsh
072 7|aJBCC|x1KL|2thema
082 04|a306.098|223
090 |aEK/2258
100 1 |aBlejmar, Jordana.|eauthor.|4aut|4http://id.loc.gov/vocabulary/relators/aut
245 10|aPlayful Memories|h[electronic resource] :|bThe Autofictional Turn in Post-Dictatorship Argentina /|cby Jordana Blejmar.
250 |a1st ed. 2016.
264 1|aCham :|bSpringer International Publishing :|bImprint: Palgrave Macmillan,|c2016.
300 |aXIV, 233 p. 24 illus., 20 illus. in color.|bonline resource.
336 |atext|btxt|2rdacontent
337 |acomputer|bc|2rdamedia
338 |aonline resource|bcr|2rdacarrier
347 |atext file|bPDF|2rda
490 1 |aPalgrave Macmillan Memory Studies,|x2634-6265
505 0 |a1.The Autofictional Turn, Playful Memories of Trauma and the Post-Dictatorship Generations -- 2.Toying with History in Albertina Carri’s Los rubios -- 3.Self-fictionalization, Parody and Testimony in Diario de una princesa montonera – 110% Verdad and Montonerísima -- 4.Happily Ever After? Guerrilla Fables and Fairy Tales of Disappearance -- 5.Lucila Quieto’s Ludic Gaze -- 6.The Defamiliarized Past in Félix Bruzzone’s Comical Autofictions -- 7.Monstrous Memories -- Conclusion. .
520 |aThis volume examines the blending of fact and fiction in a series of cultural artefacts by post-dictatorship writers and artists in Argentina, many of them children of disappeared or persecuted parents. Jordana Blejmar argues that these works, which emerged after the turn of the millennium, pay testament to a new cultural formation of memory characterised by the use of autofi ction and playful aesthetics. She focuses on a range of practitioners, including Laura Alcoba, Lola Arias, Félix Bruzzone, Albertina Carri, María Giuffra, Victoria Grigera Dupuy, Mariana Eva Perez, Lucila Quieto, and Ernesto Semán, who look towards each other’s works across boundaries of genre and register as part of the way they address the legacies of the 1976–1983 dictatorship. Approaching these texts not as second-hand or adoptive memories but as memories in their own right, Blejmar invites us to recognise the subversive power of self-figuration, play and humourwhen dealing with trauma.
650 0|aEthnology|xLatin America.
650 0|aCulture.
650 0|aCollective memory.
650 0|aMotion pictures, American.
650 0|aFiction.
650 0|aPerforming arts.
650 0|aTheater.
650 0|aLiterature|xPhilosophy.
650 14|aLatin American Culture.
650 24|aMemory Studies.
650 24|aLatin American Film and TV.
650 24|aFiction Literature.
650 24|aTheatre and Performance Arts.
650 24|aLiterary Theory.
710 2 |aSpringerLink (Online service)
773 0 |tSpringer Nature eBook
776 08|iPrinted edition:|z9783319409634
776 08|iPrinted edition:|z9783319409658
776 08|iPrinted edition:|z9783319822297
830 0|aPalgrave Macmillan Memory Studies,|x2634-6265
856 40|uhttps://doi.org/10.1007/978-3-319-40964-1
912 |aZDB-2-LCM
912 |aZDB-2-SXL
950 |aLiterature, Cultural and Media Studies (SpringerNature-41173)
950 |aLiterature, Cultural and Media Studies (R0) (SpringerNature-43723)