El objeto de estudio de esta tesis doctoral son las estrategias narrativas de la representación de la violencia de género y el femicidio en la literatura argentina contemporánea. Teniendo en cuenta el debate que ha surgido alrededor de la (im)posibilidad de representar y articular la violencia extrema en las obras literarias, argumentamos que estas obras encontraron una manera empática a la vez que excéntrica e innovadora para llevar a cabo esta difícil tasca. Es de especial interés detectar y analizar no solamente la violencia sino también a los fenómenos acompañantes de la violencia tales como son la precariedad y el capitalismo gore. Partiendo de la narratología clásica y feminista en un diálogo con las recientes teorías de género, la tesis se ha centrado en detectar varias estrategias y modos literarios que utilizan las escritoras argentinas para abordar los temas de la violencia hacia las mujeres. Nos apoyamos también en la teoría de Josefina Ludmer que argumenta que las literaturas actuales no admiten un tradicional análisis literario, ya que se sitúan en un 'entre’, entre la realidad, la historia y la ficción y marcan un cambio de paradigma que requiere otras lecturas. Entendiendo que la violencia hacia mujeres, aunque se trata de una vieja praxis, no ha tenido una visibilidad literaria hasta muy reciente, nos interesa indagar los modos que encuentran y exploran las autoras para desafiar la literatura mimética y realista y superar los viejos arquetipos de la representación. Dentro de un conjunto de obras literarias que abordan los dichos temas, hemos escogido seis obras que nos parecen sumamente importantes y significativas: Le viste la cara a Dios (2011) de Gabriela Cabezón Cámara, Chicas muertas (2014) de Selva Almada, “Las cosas que perdimos en el fuego” (2016) de Mariana Enriquez, Nación Vacuna (2017) de Fernanda García Lao, Por qué volvías cada verano (2018) de Belén López Peiró y Cometierra (2019) de Dolores Reyes. Las autoras utilizan diversos géneros literarios (autobiografía, diario, crónica, distopía feminista, el género gótico, etc.) pero los subvierten otorgándoles una dimensión de género necesaria para poder retratar el complejo tema de la violencia de género. Asimismo, cabe mencionar que la mayoría de las obras en cuestión tiene como el trasfondo la dictadura militar argentina (1976-1983) a la vez que tocan los temas contemporáneos surgidos del movimiento feminista Ni una menos que aparece en 2015 en Buenos Aires. Finalmente, en las conclusiones finales, se exposarán los resultados de los análisis para subrayar las características que prevalecen de todas las obras del corpus. Može li se ekstremno nasilje pripovijedati? Prvi dio rada usredotočuje se na raspravu koja je, potaknuta prepoznavanjem Shoah kao najveće traume u novijoj ljudskoj povijesti, postavila pitanje o (ne)mogućnosti reprezentacije ekstremnog nasilja u književnosti i umjetnosti općenito. Slijedeći teorijsku nit i promišljanja Jacquesa Rancièra, Michela Foucaulta, Giorgia Agambena, Beatriz Sarlo i Jorgea Semprúna, ustvrdili smo da, književnost, naprotiv, izražava upravo ono neizrecivo, budući da, bez obzira na fikcionalni imaginarij u kojem se nalazi, može proizvesti učinak istine i proizvesti drugačiju vrstu senzibiliteta. Dok jedan dio povjesničara, poput Vidala Naqueta, smatra da bi fikcionalizacija povijesnih trauma samo doprinijela smrti sjećanja, drugi, poput španjolskog pisca Semprúna, smatraju da se neke tragedije bolje shvaćaju ako se pribjegne fikciji, budući da je sama stvarnost ponekad suviše strašna i nestvarna da bi se sama po sebi razumjela. Na tom tragu, ova disertacija bavi se suvremenom argentinskom književnosti te djelima spisateljica koja tematiziraju rodnouvjetovano nasilje, seksualno zlostavljanje i femicid iz različitih perspektiva, posebno naglašavajući političku i subjektivnu dimenziju književnosti. Književni korpus čine sljedeća djela: Le viste la cara a Dios Gabriele Cabezón Cámare (2011), Chicas muertas (2014) Selve Almade, „Las cosas que perdimos en el fuego” (2016) Mariane Enriquez, Nación Vacuna (2017) Fernande Garcíe Lao, Por qué volvías cada verano (2018) Belén López Peiró i Cometierra (2019) Dolores Reyes. U radu istražujemo narativne strategije koje spisateljice koriste kako bi pripovijedale rodnouvjetovano nasilje i femicid iz feminističke perspektive, ali i popratne fenomene nasilja kao što su gore kapitalizam i prekarijat, koji doprinose normalizaciji nasilja. Nadalje, smatramo da svjedočimo svojevrsnoj promjeni paradigme u argentinskoj književnosti, budući da upravo spisateljice preuzimaju vodeću književnu ulogu na pragu 21. stoljeća. Većinu spisateljica možemo svrstati pod termin „novija argentinska književnost” koji je skovala Elsa Drucaroff (2011). Drucaroff smatra da se ova generacija, premda se i dalje bavi vrlo sličnim temama kao i prethodne (poput propitkivanja stvarnosti, političke i društvene nepravde, vojne diktature), koristi inovativnim strategijama pripovijedanja. Primjerice, izbjegavaju autoritarni i ozbiljni ton te pribjegavaju korištenju parodije i humora i kada pripovijedaju teme poput rodnog nasilja i femicida. Nasilje je vrlo složen fenomen, ali i neizostavan dio ljudske povijesti. Kako bismo se približili konceptu nasilja, koristimo teorije Hannah Arendt, Slavoja Žižeka, Tzvetana Todorova, Adriane Cavarero i Rite Segato. Važno je istaknuti da teorijska promišljanja o rodnouvjetovanom nasilju i femicidu sve donedavno nisu bila dio znanstvenih istraživanja, budući da se smatralo da pripadaju sferi privatnog. Dok neke teorije ističu instrumentalnu prirodu nasilja, kompleksan odnos moći i nasilja, feminističke teoretičarke, pak, promatraju silovanja, seksualna zlostavljanja i femicid kao političke činove kojima je svrha perpetuiranje i očuvanje patrijarhalnog sustava. Nejednakost je rodova kroz povijest omogućila, održala i naturalizirala ovu vrstu nasilja, smatra, primjerice, Segato. Sve veća umjetnička i književna produkcija koja se bavi pitanjima rodnoga nasilja nadovezuje se na ono što Beatriz Sarlo naziva „subjektivnim zaokretom” koji je omogućio procvat pripovijesti o osobnom, ali i pojavu povijesno nevidljivih subjekata u kulturnom imaginariju. Osim toga, važnu ulogu imaju feministički pokreti poput NiUnaMenos, koji su probudili feminističku i političku svijest, i zbog kojih su nekoć marginalna pitanja prodrijela u javnu i političku sferu. Književnost o nasilju nad ženama osporava tradicionalne načine reprezentacije nasilja te podriva hegemonističke narative koji su se stoljećima temeljili na reprezentaciji bespomoćnih ženskih tijela i pasivnosti. Metodološki se rad oslanja na klasičnu i feminističku naratologiju kako bi detektirao narativne strategije, a feminističku kritiku, kao i različite teorijske koncepte, koristi za analiziranje reprezentacije nasilja i popratnih fenomena. Osim toga, smatramo da djela književnog korpusa odgovaraju definiciji postautonomne književnosti o kojoj govori argentinska teoretičarka Josefina Ludmer. Radi se o djelima koja predstavljaju izazov književnoj autonomiji, postavljajući se često istodobno izvan i unutar književnosti. Smještena u lokalnu svakodnevicu, djela karakterizira hibridnost književnih žanrova, kao i isprepletenost različitih diskursa; zbilji pristupaju kao da je fikcija, a fikciji kao da je zbilja. Osim toga, smatramo da se sva djela koja čine književni korpus mogu svrstati pod feminističku književnosti budući da obrađuju feminističke teme per se: seksualno zlostavljanje, femicid, trgovinu ženama, a usto ih karakterizira kritički diskurs prema patrijarhatu i njegovim popratim manifestacijama. Prvo djelo, koje na neki način inaugurira književnost o femicidu u novijoj argentinskoj književnosti, jest Chicas muertas Selve Almade. U romanu je riječ o tri femicida mladih djevojaka s početkom 80-ih godina, smještena u argentinske provincije, koja su do danas ostala nerazriješena i za koja nitko nikada nije odgovarao. U ovom djelu svjedočimo igri između fikcije i ne-fikcije, tekst se opire mimetičkoj reprezentaciji, iako prisvaja taktiku hiperrealizma u reprezentaciji i osudi nasilja. Roman uspješno izmiče žanrovskoj klasifikaciji, krećući se između novinske kronike i autobiografskog romana. Kako bi se konstruirali životi mrtvih djevojaka, u tekstu se koriste različiti oblici ne-fikcije: obdukcijski i policijski izvještaji, intervjui s policijom i rodbinom žrtava, kao i pribjegavanje elementu popularne kulture u vidu posjeta vidovnjakinji koja komunicira s mrtvim djevojkama gradeći tako tzv. ‘nemoguća svjedočanstva’. Pripovjedačica se, s naknadno stečenom feminističkom sviješću, prisjeća epizoda naturaliziranog patrijarhalnog nasilja iz djetinjstva i adolescencije, koje gotovo svakodnevno trpe žene u argentinskim provincijama, iako ga ne prepoznaju kao takvo. Chicas muertas možemo smatrati činom otpora, književnošću koja iz zaborava izvlači ono što Beatriz Sarlo naziva „spašenim subjektima”; djelo vraća subjektivnost djevojkama i dopušta im da se same pripovijedaju. Mrtve djevojke, kao Agambenovi integralni svjedoci, pripovijedaju se kroz tarot i Almadino pisanje. Autorica ispunjava prazne stranice knjige imenima mrtvih i nestalih djevojaka stvarajući tako otvoreni feministički arhiv koji bi se, nažalost, svakodnevno mogao obnavljati i puniti novim žrtavama femicida čija imena zaslužuju biti zapamćena. Drugo poglavlje bavi se djelom Por qué volvías cada verano Belén López Peiró. Polazeći od problematike (ženske) autobiografije te načina na koji se danas pristupa tom kompleksnom žanru, nakon svih lingvističkih i epistemioloških zaokreta koji subjektu negiraju mogućnost samospoznaje, dovodeći time u pitanje i samu mogućnost postojanja autobiografije, analizirali smo djelo u kojem autorica opisuje seksualno zlostavljanje od strane bliskog člana obitelji. Izmjenjujući dokumente sa suđenja i zapise iz dnevnika, tekst nam otkriva mukotrpan proces koji žrtva prolazi nakon što odluči prijaviti zlostavljača. Međutim, u ovoj slučaju, žrtva prisvaja priču i nameće se kao politički subjekt napuštajući ulogu žrtve koja ju dehumanizira i oduzima joj subjektivitet. Djelo nam se na taj način nameće kao idealna inkarnacija slogana feminističkog drugog vala, osobno je političko, budući da politizira osobno iskustvo. U pokušaju dokazivanja istine, što nije bilo moguće sudskim putem, autorica pribjegava narativnoj polifoniji, dajući tako glasove drugim sudionicima u procesu i otvarajući različite perspektive koje joj omogućuju izlazak iz njezine perspektive te pogled izvana. Na taj način, naslanjajući se na teoriju Judith Butler, ‘ja’ shvaća koliko je ranjiv i krhak, budući da se ne može otrgnuti i odvojiti od okoline i drugih koji su također sastavni dio njezinog subjektiviteta. Osim toga, tekst se koristi strategijom elipse u reprezentaciji nasilja i retoričkom strategijom tišine, ostavljajući prazne bijele stranice kao poziv čitatelju i čitateljici da pokušaju razmišljati izvan nasilja te prazninu ispune smislom. Tišina se nameće kao jedina mogućnost, nakon što su iscrpljeni svi instrumenti sudske žalbe. Tekst se na taj način koristi žanrom autobiografije kako bi razotkrio destruktivne sile patrijarhata koje mogu nastanjivati obiteljske sfere koje nam se inače predstavljaju kao sigurne i bezopasne, osobito za žene. Politizirajući osobno iskustvo, istodobno se resemantizira lik žrtve koji tako dobiva prijeko potrebnu moć djelovanja. U djelu Gabriele Cabezón Cámare Le viste la cara a Dios, detektiramo nekoliko strategija kojima se autorica koristi prilikom pripovijedanja o nasilju. Prije svega valja reći da tekst pribjegava subverziji bajke, u ovom slučaju Uspavane ljepotice, koja je transponirana u sadašnjosti i u argentinski gradić Lanús. Međutim, princeza je izmještena iz svog locus amoenusa te se nalazi zatočena u bordelu i prisiljena je na prostituciju. Nadalje, u intertekstualnim poigravanjima, tekst komunicira s raznim kanonskim djelima argentinske književnosti, od kojih se ponajprije ističe „El Matadero” Estebana Echeverríe. Na taj se način gradi paralela između bordela i klaonice, što dodatno naglašava rodno nasilje kao historijski nevidljiv tip nasilja. Kombinirajući idiome, ulične izraze i aluzije na mističnu poeziju i ritmove kumbije, zasićenost referencama iz pop kulture čini tekst primjerom onoga što Nora Domínguez (2013) naziva neobarroso femenino. Autorica se njime koristi kako bi rodnouvjetovano nasilje učinila vidljivim. Naposljetku, tekst nudi feministički otpor budući da, za razliku od submisivnih ženskih likova klasičnih bajki, Beya iskorištava vlastitu seksualnost kako bi se, zločinom, pretvorila u transgresivni subjekt te se spasila iz zatočeništva. Jedina kratka priča koju analiziramo u disertaciji jest „Las cosas que perdimos en el fuego” Mariane Enriquez. Priča ukazuje na strukturalno i obiteljsko nasilje, pribjegavajući gotičkom žanru kako bi pružila feministički otpor. Međutim, ovaj put nisu potrebni arhetipski gotički tropi kako bi se taj žanr očitovao; materijalna stvarnost puna nasilja dovoljna je manifestacija gotičkog. Feministički zaokret u priči o spaljivanju žena, koje vrše njihovi partneri i muževi, predstavlja osnivanje ženske udruge Mujeres Ardientes koje se dobrovoljno unakazuju i deformiraju, stvarajući na taj način monstruozne likove, spaljene vještice koje se opiru patrijarhalnoj logici i kanonskim standardima ženske ljepote. Spaljivanje žena podsjeća na povijesni fenomen lova na vještice koji, prema talijanskoj teoretičarki Silviji Federici, predstavlja prekretnicu u povijesti jer se preklapa s tranzicijom iz feudalizma u kapitalizam, u kojem se zemlja kao opće dobro privatizira, a njezino mjesto zauzima žensko tijelo koje postaje „opće dobro” muškaraca. U tom smislu, ženski otpor kao očajnički čin protiv muške dominacije mijenja normativni poredak i ukazuje na apsurdu normalizaciju nasilja: jedino ga može zaustaviti nasilje nad samom sobom. U poglavlju Los cuerpos que (no) importan, analiziramo roman Nación Vacuna Fernande Garcíe Lao. Premda jedan dio kritike žanrovski opisuje roman kao ukroniju (ispisivanje alternativne povijesti), smatramo da se ipak radi o feminističkoj distopiji budući da se u njemu, s jedne strane, pretjerivanjem i parodijom ismijavaju rodni odnosi, a s druge se prokazuje seksizam utkan u državni aparat. Roman je smješten u vrijeme ratova za otoke M. (čitatelj/ica može naslutiti da se radi o Malvinima, odnosno Falklandskom otočju) u kojem je Argentina pobijedila, ali su neprijatelji prije odlaska otrovali vode, dok se u isto vrijeme pojavljuje nepoznati virus koji polako desetkuje preostale vojnike. Kako bi to zaustavila, Hunta koja sada vodi zemlju, smišlja projekt koji ima za cilj pronaći lijek za virus, ali i savršena ženska tijela koja bi poslužila demografskom oporavku od krize koja je uslijedila nakon rata. Koristeći se parodijom, roman propitkuje povijesne diskurse, otkrivajući lagune i neizrečene dijelove na kojim se grade službene (pri)povijesti. Osim toga, autorica ukazuje na neizostavnu vezu patrijarhata i izgradnje ‘nacije’, što se u romanu parodira pronalaskom ženskih tijela koja postaju isključivo utilitarna i funkcionalistička, negirajući na taj način ženski subjektivitet. Nadalje, na vrlo sličan način kao Le viste la cara a Dios, autorice Cabezón Cámare, roman subvertira Echeverríjin „El Matadero” te izjednačava nasilje nad životinjama iz te priče s nasiljem koje patrijarhalni i kapitalistički sustav provodi nam ženama. Tekst, dakle, animalizira žene, pretvarajući ih u stoku i sirovinu koja u konačnici služi utilitarističkoj i domoljubnoj svrsi. Žena se, osim toga, poistovjećuje sa zemljom (Segato smatra da je žensko tijelo prva muška kolonija), budući da oboje služe za osvajanje i iskorištavanje. Pribjegavajući Derridaovom konceptu „mesofalogocentrizma” ukazuje se na sjecišta muške dominacije te nasilja nad ženama i životinjama koje se najbolje utjelovljuje u referentnoj odsutnosti. Odnosno, ako klanjem životinja, one postoje samo kao meso, konstantno objektiviziranje žena u patrijarhalnom svijetu ima isti učinak. Time su oboje svedeni na objekt te im se dokida subjektivitet. Roman na taj način izostavlja nasilje nad ženama, one jednostavno nestaju i pretvaraju se u objekte za jednokratnu upotrebu. Osim toga, objašnjavamo Huntin eugenički projekt i pripitomljavanje ženskih tijela u svrhu ultimativnog domovinskog cilja, demografske obnove zemlje nakon rata, vodeći se konceptima biopolitike i „docilnih tijela” Michela Foucaulta. U Cometierri autorice Dolores Reyes, riječ preuzima kćerka žrtve femicida, najavljujući tako novu perspektivu u argentinskoj književnosti. Na vrlo sličan način kao i Enriquez, tekst prisvaja gotičku matricu kako bi prikazao femicid i prokazao sudjelovanje državnih struktura u održavanju statusa quo po pitanju rodnouvjetovanog nasilja. I ovaj put materijalna stvarnost predgrađa Buenos Airesa služi kao polazišna točka za gradnju gotičke atmosfere u kojoj dolaze do izražaja sve posljedice gore kapitalizma i sustavnog nasilja sadržanih u prizorima napuštene mladeži kojoj je budućnost oduzeta. Protagonistica romana odsutnost svoje majke pretvara u spiritus movens djela te, unatoč svim prekarnim uvjetima koji je okružuju, koristi dar vidovitosti kako bi pomogla u rješavanju slučajeva nasilja. Vodeći se teorijama Sare Ahmed o kulturnoj politici emocije, pokazali smo da se kroz ranjivost, ekstremnu empatiju i afektivnost Cometierra konstruira kao feministički subjekt koji destabilizira patrijarhalni poredak. Unatoč heterogenosti narativnih i diskurzivnih strategija, možemo zaključiti da djela koja sačinjavaju korpus disertacija dijele denaturalizaciju patrijarhalnog nasilja s jedne strane te osudu nekažnjivosti koja omogućuje i održava navedeno nasilje s druge strane. Djela se koriste fragmentacijom, umetnutim tekstovima, nemogućim svjedočanstvima, narativnim polifonijama, elipsama, ponovnim ispisivanjem kanonskih djela, parodijom i gotičkim žanrom kako bi ukazala na ranjivost i prekarnost ženskog subjekta u svijetu gore kapitalizma. Premda je kanon hispanoameričke i argentinske književnosti uvijek polagao pravo na ženska tijela i koristio ih kao objekte, odnosno prema riječima Masiello, ženska tijela su „bila temeljne sile mehanizama proizvodnje narativa” (2015: 212), u djelima koja čine naš korpus, žene se same nameću kao subjekti, kao što je to slučaj u Por qué volvías cada verano Belén López Peiró, ili pak različitim strategijama vraćaju žrtvama subjektivnost, koju im je nasilje oduzelo. Također je bitno spomenuti da afekti i afektivni sklopovi kao što su osjećajnost, empatija i ljutnja igraju bitnu ulogu u stvaranju i tjeranju subjekata na djelovanje, kao što je slučaj u Chicas muertas, ili kod Beye i Cometierre. Naposljetku, pretvarajući privatno u političko, ova djela možemo klasificirati kao „kolektivni vapaj” koji se pridružuje zahtjevima feminističkih pokreta u borbi protiv patrijarhalnog nasilja te, na neki način, kao temelj novom tipu književnosti, osjetljivijem na teme rodnouvjetovanog nasilja i femicida. Can extreme violence be narrated? The first part of the thesis focuses on the discussion that, prompted by the recognition of Shoah as the greatest trauma in recent human history, raised the question of the (im)possibility of representing extreme violence in literature and arts in general. Following the theoretical thread and reflections of Jacques Rancière, Michel Foucault, Giorgio Agamben, Beatriz Sarlo and Jorge Semprún, we have argued that literature, on the contrary, expresses precisely the unspeakable, since, whatever its fictional imagery, it can produce the effects of truth and a different kind of sensibility. While some historians, such as Vidal Naquet, believe that the fictionalization of historical trauma would only contribute to the death of memory, others, such as the Spanish writer Semprún, believe that some tragedies are better understood if they are conveyed through to fiction because reality itself is sometimes too scary and unreal to be understood per se. In an attempt to further explore this, the dissertation deals with contemporary Argentine literature and the works of women writers who thematize gender-based violence, sexual abuse and femicide from different perspectives, with particular emphasis on the political and subjective dimension of literature. The literary corpus consists of the following works: Le viste la cara a Dios by Gabriela Cabezón Cámara (2011), Chicas muertas (2014) by Selva Almada, “Las cosas que perdimos en el fuego” (2016) by Mariana Enriquez, Nación Vacuna (2017) by Fernanda García Lao, Por qué volvías cada verano (2018) by Belén López Peiró and Cometierra (2019) by Dolores Reyes. In the dissertation, we explored the narrative strategies that women writers use to narrate gender-based violence and femicide from a feminist perspective, as well as the accompanying phenomena of violence such as capitalism gore and precariat that contribute to the normalization of violence. Furthermore, we believe that we are witnessing a kind of paradigm shift in Argentine literature, as it is women writers who are taking on a leading literary role on the threshold of the 21st century. Most women writers can be classified under the term “newer Argentine literature” coined by Elsa Drucaroff (2011). Drucaroff believes that this generation, although still dealing with very similar topics as the previous ones (such as the questioning of reality, political and social injustice, military dictatorship) is using innovative storytelling strategies. For example, they avoid serious and authoritarian stance, and they allow a mocking and sarcastic tone even when dealing with the issues of violence and femicide. Violence is a very complex phenomenon, but also an indispensable part of human history. To approach this concept, we used the theories of Hannah Arendt, Slavoj Žižek, Tzvetan Todorov, Adriana Cavarero and Rita Segato. It is important to point out that until recently, theoretical considerations on gender-based violence and femicide were not part of scientific research, as they did not go beyond the realm of the private. Most of these theories emphasize the instrumental nature of violence, the complex relationship of power and violence, while feminist theorists view rape, sexual abuse, and femicide as political acts aimed at perpetuating and preserving the patriarchal system. Gender inequality throughout history has enabled, sustained, and naturalized this type of violence, according to Segato, for example. The growing artistic and literary production dealing with issues of gender violence builds on what Beatriz Sarlo calls the “subjective turn” that allowed the narrative of the ‘personal’ to flourish, as well as the emergence of historically invisible subjects in the cultural imagery. In addition, an important role is played by feminist movements such as NiUnaMenos, which have awakened feminist and political consciousness and because of which once marginal issues have penetrated the public and political spheres. Literature on violence against women undermines hegemonic narratives that have been based for centuries on helpless female bodies and female passivity. The methodological work relies on the classical and feminist narratology to detect narrative strategies, and uses the feminist critique as well as various theoretical concepts to analyse the representation of violence and the accompanying phenomena. In addition, we believe that the works of the literary corpus correspond to the definition of post-autonomous literature as defined by the Argentine theorist Josefina Ludmer. These are works that challenge literary autonomy, often being placed both outside and within literature. They are set in the local everyday life, and are characterized by the hybridity of literary genres, as well as the intertwining of different discourses. They approach reality as if it were fiction, and fiction as if it were reality. In addition, we believe that all works that make up the literary corpus can be classified as feminist literature as they address feminist themes par excellence: sexual abuse, femicide, trafficking of women, and are characterized by a critical discourse on patriarchy and all its accompanying elements. The first work, which in a way inaugurates the literature on femicide in recent Argentine literature, is Chicas muertas by Selva Almada. The novel is about three femicides of young girls from the early 80s, set in the Argentine provinces, who have remained unresolved to this day and for whom no one has ever been held accountable. In this work we witness a game between fiction and non-fiction, the text resists mimetic representation although it appropriates the tactics of hyperrealism in the representation of violence. It successfully evades genre classification, moving between a chronicle and an autobiographical novel. In order to construct the lives of dead girls, the text uses various forms of non-fiction: autopsy and police reports, interviews with police and relatives of victims, as well as resorting to an element of popular culture in the form of visits to a clairvoyant who communicates with dead girls and in that way the impossible testimonies are being created. The narrator, with a subsequently acquired feminist consciousness, recalls episodes from childhood and adolescence depicting naturalized patriarchal violence suffered almost daily by the women in the Argentine provinces, although they do not perceive it as such. Chicas muertas can be considered an act of resistance, the literature that pulls out of oblivion what Beatriz Sarlo calls “rescued subjects” - it restores subjectivity to girls and allows them to narrate themselves. The dead girls, as Agamben’s integral witnesses, are narrated through tarot and Almada’s writing. The author fills the blank pages of the book with the names of dead and missing girls, creating a feminist archive that could, unfortunately, function as an open work that could be renewed daily and filled with new victims of femicide whose names deserve to be remembered. The second chapter deals with the work Por qué volvías cada verano by Belén López Peiró. Starting from the issue of (female) autobiography and the way in which this complex genre is approached today, after all the linguistic and epistemological turns that deny the possibility of self-knowledge to the subject, thus questioning the very existence of autobiography, we analysed the work in which the author describes sexual abuse by a close family member. By exchanging trial documents and diary entries, the text reveals to us the arduous process that the victim goes through after deciding to report the abuser. However, in this case, the victim appropriates the story and imposes herself as a political subject who abandons the role of the victim, which dehumanizes her and deprives her of subjectivity. The work thus imposes itself on us as an ideal incarnation of the slogan of the feminist second wave - the personal is political, as it politicizes personal experience. In an attempt to prove the truth, which was not possible in the court, the author resorts to narrative polyphony, thus giving voices to other participants in the process and opening different perspectives that allow her to get outside of her condition and look at herself from the outside. In this way, drawing on Judith Butler’s theory, the ‘I’ realizes how vulnerable and fragile it is, as it cannot tear itself away and separate from its surroundings and others who are also an integral part of its subjectivity. In addition, the text uses an ellipse strategy in the representation of violence and a rhetorical strategy of ‘silence’, leaving blank white pages as an invitation to the reader to try to think outside the violence and fill the gap with meaning. Silence is imposed as the only possibility, after all the instruments of appeal have been exhausted. The text is thus used in the genre of autobiography to expose the destructive forces of patriarchy that can inhabit the family spheres that are otherwise presented to us as safe and harmless, especially for women. By politicizing personal experience, at the same time the character of the victim is resemanticized, thus gaining much-needed power of action. In the work of Gabriela Cabezón Cámara Le viste la cara a Dios, we detected several strategies that the author uses when narrating violence. First of all, it should be said that the text resorts to the subversion of a fairy tale - in this case the Sleeping Beauty, which is transposed in the present and in the Argentine town of Lanús. However, the princess is displaced from her locus amoenus and is trapped in a brothel and forced into prostitution. Furthermore, in its intertextual playfulness, the text communicates with various canonical works of Argentine literature, among which Esteban Echeverría’s “El Matadero” stands out in the first place. In this way, a parallel is built between the brothel and the slaughterhouse, which further emphasizes gender-based violence as a historically intangible type of violence. Combining idioms, street expressions and allusions to mystical poetry and the rhythms of cumbia, the saturation with pop culture references, makes the text an example of what Nora Domínguez (2013) calls neobarroso femenino. The author uses it to make gender-based violence visible. Ultimately, the text offers feminist resistance since, unlike the submissive female characters of classic fairy tales, Beya exploits her own sexuality and by resorting to crime, she turns into a transgressive subject and escapes from captivity. The only short story we analyse in the dissertation is “Las cosas que perdimos en el fuego” by Mariana Enriquez. The story points to structural and domestic violence, resorting to the Gothic genre to offer feminist resistance. This time, however, no archetypal Gothic tropes are needed for this genre to manifest; the material reality full of violence represents a sufficient manifestation of the genre. A feminist twist in the story of the burning of women by their partners and husbands is the founding of the Mujeres Ardientes women's association, where women are voluntarily mutilated and deformed, creating monstrous characters, burned witches who defy patriarchal logic and canonical standards of the female beauty. The burning of women is reminiscent of the historical phenomenon of witch-hunting, which, according to the Italian theorist Silvia Federici, represents a turning point in history because it overlaps with the transition from feudalism to capitalism, in which the land as a common good is privatized with the female body taking its place, i.e., the female body becomes a man’s common good.In this sense, female resistance as a desperate act against male domination changes the normative order and points to the absurd normalization of violence – that only auto-violence can stop. In the chapter Los cuerpos que (no) importan, we analyse the novel Nación Vacuna by Fernanda García Lao. Although one part of the critique classifies the novel as an uchronia (alternate history), we believe that it is a feminist dystopia since, on the one hand, it exaggerates gender relations with the use of parody, and on the other shows the woven sexism of the state apparatus. The novel is set during the wars for the M. Islands (the reader can guess that the M stands for Malvinas, i.e., the Falkland Islands) in which Argentina won, but the enemies poisoned the water before leaving, while at the same time an unknown virus appears which slowly decimates the remaining soldiers. To stop this, the junta, which now runs the country, is devising a project aimed at finding a cure for the virus, but also perfect female bodies that would serve as a demographic recovery from the crisis that followed the war. Using parody, the novel interrogates historical discourses, revealing lagoons and unspoken parts that build official stories. In addition, the author points to the inevitable connection between patriarchy and nation-building, which is parodied in the novel by finding female bodies that become exclusively utilitarian and functionalist, thus denying them any female subjectivity. Furthermore, in a very similar way to Le viste la cara a Dios, by Cabezón Cámara, the novel subverts Echeverría’s “El Matadero” and equates the violence against animals from that story with the violence that the patriarchal and capitalist system inflicts on women. The text, therefore, animalizes women by turning them into cattle and raw materials that ultimately serve a utilitarian and patriotic purpose. The woman, moreover, identifies with the land (Segato considers the female body to be the first men’s colony) which is to be conquered and exploited. By resorting to Derrida's concept of “carnofalogocentrismo”, he points to the intersections of male domination and violence against women and animals, which is best embodied in the absence of reference. That is, if the slaughter of animals makes them exist only as meat, the constant objectification of women in the patriarchal world has the same effect. In this way their subjectivity disappears since both are reduced to the object. The novel thus omits violence against women, they simply disappear and turn into disposable objects. In addition, guided by Michel Foucault's concepts of biopolitics and “docile bodies”, we explain the junta's eugenic project and the domestication of women's bodies for the ultimate patriotic goal - the country's demographic renewal after the war. In Cometierra, by Dolores Reyes, the word is taken by the daughter of a victim of femicide, thus announcing a new perspective in Argentine literature. In a very similar way to Enriquez, the text appropriates the Gothic matrix to depict femicide and demonstrate the participation of state structures in maintaining the status quo on gender-based violence. And this time the material reality of the suburbs of Buenos Aires serves as a starting point for building a Gothic atmosphere in which all the consequences of the capitalism gore and systematic violence manifesting itself in the abandoned youth whose future has been taken away, come to the fore. The protagonist of the novel turns her mother's absence into the spiritus movens of the work and, despite all the precarious conditions that surround her, uses her gift of clairvoyance to help solve cases of violence. Guided by Sarah Ahmed’s theories on the cultural politics of emotion, we have shown that through vulnerability, extreme empathy, and affectivity, Cometierra is constructed as a feminist subject that destabilizes the patriarchal order. Despite the heterogeneity of the narrative and discursive strategies, we can conclude that the literary works that make up the corpus have in common the denaturalization of patriarchal violence, on the one hand, and the condemnation of impunity that enables and perpetuates this violence, on the other. The works use fragmentation, inserted texts, impossible testimonies, narrative polyphonies, ellipses, rewriting of canonical works, parody and the Gothic genre to point out the vulnerability and precariousness of the female subject in the world of gore capitalism. In addition, they impose themselves as a counterpoint to hegemonic literature that glamorizes and spectacularizes violence against women. Although the canon of Hispanic and Argentine literature has always claimed female bodies and used them as objects, that is, according to Masiello, female bodies were “fundamental forces of narrative production mechanisms” (2015: 212), in the works of our corpus women impose themselves as subjects, as is the case in Por qué volvías cada verano by Belén López Peiró. Or by different strategies they return the subjectivity to the victims that the violence had taken away from them. It is also important to mention that emotions such as sensitivity, empathy, and anger play an essential role in creating and forcing subjects to action, as is in Chicas muertas, or in Beya’s and Cometierra’s case. Finally, turning private into political, we can classify these works as “collective clamour” that joins the demands of feminist movements in the fight against the eradication of patriarchal violence and, in a way, as a foundation for a new type of literature more sensitive to gender-based violence and femicide.