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Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Uno de los principales reservorios literarios cuyo origen es exclusivo del imaginario medieval proviene de la materia de Bretaña, específicamente del universo artúrico. El amplio abanico de su productividad ofrece usos muy variados y ha oscilado entre el predominio de la recuperación del Arturo histórico o el ficcional. La novela The Buried Giant (2015) de Kazuo Ishiguro parte de la concepción histórica para la construcción de su marco posartúrico. Durante el siglo VI, un hechizo en forma de niebla, sostenido por la vida de una dragona, hace que el pueblo pierda sus recuerdos y su memoria resulte borrosa. El efecto había sido ideado para dar comienzo a una nueva sociedad sin la enemistad o el resentimiento entre britanos y sajones. A partir del enfoque del neomedievalismo, se analizará el trabajo en el texto con el olvido y la memoria en términos colectivos e individuales.

The purpose of this article is to support the idea that art is an exploration of conflicts. To achieve this goal, at first it is necessary to understand that a key to interpretation is to assume that conflicts are constitutive of every social bond, and that a harmonious society is a contradiction in terms. In a second moment, we will understand that the conflict will be located in the novel as the fundamental setting where modernity occurs. In a third moment, the questioning of the crisis will take us to the psychoanalytic assumptions to understand the relationship between conflict, modernity and identity based on the concepts of sublimation, oblivion and mourning. Finally, we will try to determine how the three previous moments are synthesized in anthropological vulnerability as a point of contact in the relationship between literature and philosophy. [ABSTRACT FROM AUTHOR]

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En este artículo se plantea el vínculo que existe entre el hecho de hacer memoria, como dar razones de un propio pasado, y una acción emancipatoria en términos políticos. En este sentido, se plantean cuatro posibilidades: hacer memoria como resignificar el pasado, hacer memoria como someter a crítica las narrativas históricas oficiales, hacer memoria como recuperación de la capacidad de narrar un propio pasado, y hacer memoria como repararla.

Copyright of EU-topías: A Journal on Interculturality, Communication & European Studies is the property of Universite de Geneve, Global Studies Intitute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Esta reflexión refiere a “Malvinas” (la Cuestión, lo que condensa como significante histórico y no el recorte de los 74 días de 1982). A 40 años de la recuperación de la democracia constitucional, como oportunidad para desentrañar qué posibilidad de futuro nacional estamos definiendo densamente, qué voluntad de recuerdo tenemos, qué optimismo patriótico, qué instrumental disponemos, qué actitud epistemológica, qué escenarios ocurren, qué capacidad de vínculo colectivo.

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Ahmet Muhip Dıranas is a poet who writes poems in syllabic meter depending on Pure Poetry Understanding in Turkish poetry of the Republican Period. He gave great importance to the word, verse, meaning in poetry, symbolism, music, poetry, form and form. Therefore, he looked at his poetry as a whole. Explaining poetry as adding human to nature and nature to human in a certain dose, Dıranas also draws attention to the concept of time in poetry. According to him, poetry is the art of creating a fourth dimension with words. What makes Dıranas a lasting, great poet is the workmanship he has done on his poetry. The poem written by a poet who cannot sleep for days for a rhyme or a sound in order to bring his poetry to a real integrity finds its place within the limits of perfection. Therefore, there are great differences between the first poems he published and the versions of these poems in his book. There are differences between his poems in the book "Poetry" published in 1974 and the anthology of his poems "Five Seasons" and "Four Ahmedi of Our Poetry" These differences were evaluated in the context of "added, removed and changed" words or verses between poems. In this article, Dıranas's poem titled "Olvido" is analyzed in the context of Pure Poetry, emphasizing the differences in these books. The memory metaphors that Pure Poetry attaches importance to were applied on the "Olvido" poem. [ABSTRACT FROM AUTHOR]

In this theoretical study, we return to Nietzsche's considerations on the dynamics of forgetfulness in the context of the exercise of psychological clinic. Unlike other conceptions in Psychology, such as neuropsychological and cognitive - behavioral ones, which adopt forgetfulness as a symptom of mental illness, of alteration in cognitive faculties or antagonistic dyad of remembrance; forgetfulness in Nietzsche is also thought of as an experience that allows a rearticulation with life: forgetting in order to resume. Through a review of the literature of Nietzsche's works, which address the theme of forgetfulness, we will make an analysis to give visibility to the way the philosopher understands forgetfulness in the human experience. Through the path of thought on forgetting announced by the philosopher, a possibility of clinical action based on phenomenology and the philosophy of existence appears, in which it is allowed to forget so that one can then return to life free of debts and consequent resentments. [ABSTRACT FROM AUTHOR]

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Objective: The objective of this article is to understand, through the narratives of victim-survivors of armed violence in Chalán, Sucre (Colombia, 1992-2007), the meaning they attribute to silence as a form of peaceful coexistence. Methodology: From the perspective of social constructionism, silence was analyzed as a form of language that articulates memory and forgetting. Researchers interpreted how silence becomes part of people's daily lives to such an extent that they generationally resignify this concept as a life option. Under the strategies of research-action-participation, dialogues were created in collective workshops and during visits to 30 families of victim-survivors. The information was processed with the support of Atlas.ti 7 software. Results: Silence is an action of peaceful coexistence, protection, and a survival strategy. Conclusions: Narratives about silence redefine the concept and open new alternatives for survival and new encounters through non-violent relationships. There is evidence of a shift in the meaning of the concept of silence. Traditionally associated with mechanisms of repression, evasion, and negative resistance, silence is now recognized as a means of protecting life as a precious commodity. [ABSTRACT FROM AUTHOR]

Enforced disappearance represents the quintessence of human rights violations with a strong psychological component. Bodies vanishing have a deterrent effect by terrorizing and paralyzing the entire society. However, the absence of those bodies is overly present in the inner experience of the families of the disappeared, who are victims in their turn. A state of severe psychological deterioration affects the relatives of the disappeared: depression, anxiety, powerlessness, guilt, post‐traumatic stress disorder, inability to mourn, even suicide are the consequences of the unbearable uncertainty about the fate of the loved one. But the disappeared persons, notwithstanding the absence of their bodies, continue to be more present than ever in the inner experience of those who have loved them. For the families of the disappeared, to regain psychological equilibrium is a fine balance between the need to remember and the necessity to forget. The author affirms that, at a social and political level, to cultivate a collective memory of enforced disappearance is an ethical duty which validates the actual occurrence of the atrocities, helps prevent repetition and alleviates the transgenerational transmission of trauma. [ABSTRACT FROM AUTHOR]

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La transparencia presenta una dimensión constitucional por la repercusión en derechos fundamentales de víctimas de violencia y maltrato. El objeto de estudio se centra en los riesgos de la desinformación y sus efectos negativos sobre la vida, integridad, seguridad, revictimización o tutela jurídica de las mujeres. La metodología se desarrolla a través de la aplicación de la perspectiva de género y el criterio de vulnerabilidad como categorías de análisis, basándose en las deficiencias de la regulación actual, la jurisprudencia emergente en esta temática y la interpretación doctrinal de aspectos controvertidos. Como conclusiones destacan la construcción jurídica de una transparencia de género a través de un derecho subjetivo individual y adaptativo de información, la consolidación de un interés público de género para dirimir conflictos entre derechos fundamentales de víctimas y delincuentes, las limitaciones al derecho al olvido de maltratadores o agresores sexuales y la responsabilidad pública por desinformación.

Social representations around the historical facts of the armed conflict are marked by a cognitive and mnemic bias, accompanied by forgetfulness and silences, and by processes of attribution of responsibility in which the guerrillas, especially the FARC-EP, are assumed as the main responsible and absolute enemy. This makes the responsibility of the other stakeholders (paramilitaries, security forces, and the State) invisible, by generating a convenient and induced oblivion, which is functional to the interests of certain social sectors that hold political, economic, and media power, which promote impunity and contribute to the maintenance of political violence in order to maintain their power. These hegemonic memory processes constitute a psychosocial barrier to the construction of peace, democracy, and reconciliation in Colombia. [ABSTRACT FROM AUTHOR]

The fragmentary partition of Roberto Bolaño's 2666 allows us to question the time of a resistance without consolation, for if there is no place for crime and no burial place, memory lacks content. In this register-following a passage from Cicero's De oratore about Simonides where it is clear that the mnemonic principle that allows him to recognize the shattered dead, crushed under the ruins, lies in linking places and names-, it is proposed that in 2666 Reiter appears as a sort of inventor of the art of forgetting. Reiter produces oblivion by changing objects of place or location. In this sense, what Reiter does is not only to subtract an object, but to subtract the place of dis-appearance. Both memory and forgetting, then, appear as faculties, as technical devices, mechanisms or operations where the production of an effect is at stake. By exposing the resources of disappearance -that every disappearance needs to erase the very place of disappearance- 2666 shows that me-mory does not imply the memorialization of something that lies within and that, clean, unharmed, unscathed, unscathed, simply awaits to be discovered or recovered. In Amu-leto or 2666, beyond any archontic principle, memory is inscribed as something that is irremissibly lost at the same time as it is the interruptive gleam of that which, like a flashing index, is suspended on the edge. [ABSTRACT FROM AUTHOR]

This article presents memory as a counterpart of oblivion. The act of forgetting is neither random nor universal. It is regulated in each state of society. Collective memory can be studied, therefore, as a "collective administration" of oblivion. An outline of this history takes as a starting point the question of how societies manage what they forget, with the objective of apprehending the means used by societies to produce or impose oblivion, to regulate it, to adapt to it, or to deny it. It is argued that some societies operate with amnesia, repression, erasure, and obliteration of the past. There are different ways in which societies seek to establish forgetfulness, but they also develop techniques against forgetfulness. The article aims to prove that the cultures of societies can be analyzed and periodized in terms of regimes of memorable that are, in fact, regimes of erasure and oblivion. [ABSTRACT FROM AUTHOR]

Copyright of Revista Confluências Culturais is the property of Fundacao Educacional da Regiao de Joinville - FURJ and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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El derecho al olvido no se halla regulado, ahora eso no significa que no se pueda exigir que se respete la facultad fundamental a la intimidad, a la privacidad, al buen nombre y honra, derechos que se encuentran regulados dentro de este sistema siendo declarados alrededor de los fundamentales en la constitución política colombiana. Existen mecanismos por los cuales se pueden realizar acciones para que estos derechos sean respetados. Para interpretar que como se observa en nuestro país, analizaremos el marco legal que se le brinda a este derecho el derecho como tal no se encuentra descrito, pero se puede llegar analizar de cómo la constitución brinda aun garantías en circunstancias alternas, para todo ciudadano; hombre, mujer, menores de edad, se encuentra el plan para hacer la denuncia en caso de que se vulnere el derecho, como se desmotiva la responsabilidad de los motores de búsqueda, a quienes en un principio se les considera responsable, ya que al momento que se publican las fotos se te indexa al buscar el nombre del autor en algún buscador con la imagen o video relacionado, donde no existe ningún consentimiento por parte del autor.

Como es sabido, las novelas de Clarín no siempre formaron parte del canon de las grandes obras del siglo XIX. Este trabajo pretende, por una parte, establecer las causas por las que dicho autor permaneció alejado del grupo de los grandes novelistas del siglo XIX durante tantos años. Por otra, se plantea ofrecer algunas notas para un panorama diacrónico que abarque la crítica clariniana desde 1901 hasta 1984, y reflejar así quiénes fueron los primeros investigadores que se interesaron por dichas novelas, cuáles fueron sus intereses y las claves sobre las que sustentaron su valoración. Esta puesta en valor de las novelas clarinianas conllevó varias décadas del siglo XX, en las que fue fundamental un acercamiento a los elementos intratextuales de su obra que dejara atrás la visión de Clarín como un simple eslabón que abría paso hacia las obras de grandes autores como Galdós o a los de la generación del 98.

En este artículo llevaremos a cabo el análisis de la novela Abril rojo (2006) de Santiago Roncagliolo. Nuestro estudio versará en la dinámica existente entre la memoria y el olvido, en cómo estos aspectos juegan en sintonía para ocultar, aislar o relegar hechos sumiéndolos en una neblina que no permite al resto de individuos advertirlos; a su vez, respecto a la memoria, distinguimos cómo se trae a la luz incidentes separados que conceden solo una parte de la historia, evidentemente, la fracción conveniente. En dicho sentido, a través de este estudio, observaremos cómo la narrativa de Roncagliolo inscrita en un formato de investigación nos abre camino a una serie de mecanismos de resguardo utilizados por el Estado y por sujetos comunes como el fiscal Chacaltama para apoderarse de los sucesos pasados y seleccionar cuáles se exponen como hechos históricos, protegiendo así su propia imagen y de la institución representada.

Podemos entender a la periferia como el lugar donde convive todo aquello que eventualmente dejamos de lado, incluso las ideas que por una u otra razón hemos marginado. Todas esas que alguna vez tuvimos, pero no supimos o no pudimos llevar a cabo y quedaron rezagadas en un mar de incertidumbre y expectativas. Hay tantas ideas que llegan para generar algo, pero nunca lo logran… tantos proyectos, concursos y propuestas que no se materializan y jamás nos preguntamos a dónde van a parar. ¿Qué pasa con ellas? ¿quedan perdidas en el olvido? Las 24 horas del día se está produciendo alrededor del planeta material que nunca va a concretarse y aun no lo sabemos. Bocetos, planos, croquis y muchas soluciones creativas que nacen y desaparecen en esta especie de nube intelectual que generamos a lo largo de la vida. Podríamos plantearnos en algún momento que todo este material puede ser compartido. Que, si destapásemos esa caja llena de ideas inconclusas y pudiésemos reciclarlas y llevarlas a cabo, evitaríamos que se pierdan en esa periferia que nosotros mismos generamos. ¿Es acaso esto posible o simplemente es más sano pensar que hay que descartar ciertas cosas para poder avanzar?

Pretendemos hacer algunas consideraciones sobre la película La mujer sin cabeza (2008), de Lucrecia Martel, explorando la cuestión del olvido intrincada en su trama. A través de la protagonista -Verónica-, la directora busca hacer un acercamiento personal a los mecanismos de silenciamiento y desmemoria en los cuales la sociedad (tanto hoy como durante períodos no-democráticos, como fue la última dictadura militar en Argentina, de 1976 a 1983) se refugia, absteniéndose de sus responsabilidades en diversos espacios de violencia.

En el contexto de sociedades sumidas en prolongados conflictos armados internos y, que intentan transitar hacia condiciones y contexto de Paz, el ejercicio de la reconstrucción de la verdad se hace prioritario y allí, es esencial comprender que, los olvidos, silencios y lo no recordado se constituyen en una forma en la cual la sociedad construye, paradójicamente, representaciones sociales sobre hechos históricos (RSHH) del conflicto armado. Así, los hechos históricos del conflicto armado están marcada por olvidos y silencios y por procesos de atribución de responsabilidad en los que se asume como principal responsable y enemigo absoluto a una de las partes, lo que invisibiliza la responsabilidad de los otros actores y genera un olvido conveniente, funcional a los intereses de ciertos sectores sociales que mantienen importantes índices de impunidad y se valen de la violencia política para perpetuar su poder, constituyéndose este escenario, en barrera psicosocial para la construcción de la paz y la reconciliación en Colombia.

A literature review regarding Gertrudis Segovia Álvarez shows this author has been forgotten from the critics despite being recognized as a successful writer at the beginning of the twentieth century. This paper aims archival research related to her stay in the Canary Islands and the influence of this time in her work. The findings show the issues Gertrudis Segovia embodied with her feminine identity because of an intellectual and emotional exclusion. Also, it is discovered in this paper the features of being a self-sacrificing woman, the importance of the influence of the masculine role in her life -her father and her husband, and the importance of her recognition by a female audience in the middle of the strong influence of the Catholicism in the social life and the private life as well. All of these features frame her initial recognition as an important author but also the forgetfulness of herself and her work. [ABSTRACT FROM AUTHOR]

This article is dedicated to the concept of conscience, or rather, the call of conscience, as outlined by Heidegger in the second section of Being and Time. While showing itself as an insurmountable concept for understanding the authenticity condition of the Dasein, the discussion about consciousness also establishes Heidegger's relationship with the phenomenological tradition in a more comprehensive way, as a rupture of an interpretative flow and sedimentation of a new meaning. The notion of forgetfulness here no longer applies to the problem of the history of metaphysics in relation to the fundamental question of being, but to the self-understanding of Dasein as an entity open to a finite temporality, since in the enterprises inherent in everyday life, this entity degenerates in impersonality - through which inauthenticity is established. Here, then, is the interpretive horizon in which the problem of consciousness in Being and Time is established, which comprises one of the main sources for the approach of the theme in Martin Heidegger's thought. [ABSTRACT FROM AUTHOR]

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Este texto se articula como un inicio de conversación con el ensayo de Vanesa Gourhand «En la senda del olvido: ¿el mundo se olvidó de llorar?» En un primer momento metodológico, nos acercaremos al concepto de demora, para poder analizar en un segundo momento las condiciones de posibilidad de una poética del olvido y de la verdad, siguiendo las referencias de Gourhand a los conceptos de poesía y olvido de Heidegger. En su ensayo, Gourhand expone algunas ideas sobre «la poética del habitar» heideggeriana y cómo ésta se relaciona con una consideración ontológica. En un tercer momento, se darán claves para la interpretación ética y política de las últimas obras de Heidegger. Este análisis concluirá con una cuestión fundamental para nuestro tiempo: ¿qué hacer con los olvidados del progreso y de la historia?

En este artículo se investiga sobre los recuerdos, el olvido y la memoria a través de la creación fotográfica, performativa y videográfica de David Catá. La obra de este artista gira en torno a su autobiografía, contada a partir del archivo fotográfico doméstico y del álbum familiar. Su proceso de creación parte de la memoria colectiva y de las experiencias, lugares y poéticas de la memoria individual que construye recuerdos fotográficos. Su proceso de creación, en constante fricción con su vida, pretende fotografiar el olvido. Para ello, también recurre a la performance, a través de la cual, emplea sus manos como soporte, cosiendo sobre ellas personas, familiares, espacios afectivos que interfieren en la vida del artista. Esta investigación ha sido el resultado de meses de documentación y creación del discurso de comisariado en la Universidad de Guanajuato (México). En este montaje expositivo, en formato fotográfico y audiovisual, el artista narra en primera persona, como las fotografías activan memorias y recuerdos personales que pueden ser similares a los de los espectadores.

El vínculo de la memoria y los loci, procedente de las técnicas mnemónicas clásicas, deriva en el terreno lírico en interesantes metáforas espaciales. En este trabajo analizamos poemas pertenecientes a la poesía hispánica de los Siglos de Oro en que la memoria y el olvido manifiestan algunas de las principales consideraciones de las artes de la memoria, si bien en este contexto memoria y olvido constituyen temas y no recursos. El objetivo de este estudio es proponer un sucinto inventario que dé cuenta de las metaforas locativas en que cristaliza la memoria en la lírica hispánica áurea.

A partir de una descripción del discurso oficial sobre el continuum memoria/olvido y su rol en la reconstitución del pasado, en el presente ensayo se repasa brevemente el papel de la literatura colombiana desde el periodo conocido como La Violencia hasta la actualidad. De esta manera, son destacados los textos literarios posteriores al pacto del Frente Nacional, algunos contemporáneos, y se analizan ciertos apartes de las novelas El olvido que seremos (2006) y Traiciones de la memoria (2009) del escritor Héctor Abad Faciolince. Finalmente, en lo que refiere a esta nueva etapa histórica conocida como “posconflicto”, se propone una estética de la memoria como vía alterna de comprensión de la violencia en Colombia, partiendo del reconocimiento de la vulnerabilidad que ella posee, así como de la capacidad restitutiva que tiene el olvido.

The Ordesa Valley is no longer just a space in the Sobrarbe, region located in the central Pyrenees of Huesca. Thanks to Manuel Vilas Ordesa, the oldest park in Aragon and the second in Spain, it is an agglomerate of memory and disappearances in the fight against oblivion. It is a look in the rearview mirror, it is a stop in time on the journey of life to meet again with who one was before and with who one is. It is a valley of memories and orogeny, which is a little more ours. [ABSTRACT FROM AUTHOR]

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Reseña de la obra: Vilas, Manuel (2018). Ordesa. Madrid: Alfaguara. 120 p. ISBN 978-84-204-3169-7 El Valle de Ordesa ya no es solo un espacio de la comarca del Sobrarbe ubicado en el Pirineo central de Huesca. Gracias a Manuel Vilas Ordesa, el parque más antiguo de Aragón y el segundo de España, es un aglomerado de memoria y desapariciones en lucha contra el olvido. Es un mirar por el espejo retrovisor, es un parar a tiempo en el viaje de la vida para reencontrarse con quien se fue y con quien se es. Es un valle de recuerdos y orogenias que ya es un poco más nuestro.

We analyze the link between memory and oblivion in the Brazilian political process, focusing on the behavior of some institutions and specific actors, whether state, political, military, business, religious or intellectual, internal and external, to whiten past traumas, without carrying out deep transformations, which causes its resurgence, transfigured, as a continuity that transcends different historical periods and imposes obstacles to the present. [ABSTRACT FROM AUTHOR]

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