Notes

  • 1. Nicolas Bai Quesada was the musical director, while Lucila Quieto, Martin “Rata” Vega, Maria Maggio and Facundo Maggio (Maggio’s children) were the director’s assistants.
  • 2. Acosta Larroca and Federico Goldfrid, “Entrevista con Benjamin Avila.”
  • 3. Friera, “Quise hacer un collage de distintos recuerdos y memorias,” my emphasis.
  • 4. In one of the scenes from Joshua Oppenheimer’s documentary The Act of Killing (2012), which addresses mass murders in 1960s Indonesia, we have the opposite case, meaning perpetrators playing the role of their victims in an unsettling performance of violence.
  • 5. Bennett, Empathic Vision, 8.
  • 6. Ibid.
  • 7. Landsberg, Prosthetic Memories, 24.
  • 8. To name some of the most emblematic examples, Eduardo Pavlosky’s play Potestad (1985), Luis Puenzo’s film La historia oficial (1985), Luis Gusman’s novel Villa (1996) and Martin Kohan’s novel Dos veces junio (2002).
  • 9. The BBC documentary My Nazi Legacy (2015) addresses key issues around this figure in relation to the Shoah.
  • 10. I borrow this question from Juan Carlos Aguero’s Los rendidos: Sobre el don de perdonar, a book about legacy, victimhood and responsibility by the son of victims of Sendero Luminoso in Peru.
  • 11. Alberca, Elpacto ambiguo, 29.
  • 12. Friera, “Quise hacer un collage de distintos recuerdos y memorias.”
  • 13. Seman, Soy un bravopiloto de la nueva China, 15.
  • 14. Piglia, “Una estrella roja volando sobre Argentina.”
  • 15. Doubrovsky, “Autobiografia/verdad/psicoanalisis,” 48.
  • 16. Seman, Soy un bravo piloto de la nueva China, 163.
  • 17. Seman, Soy un bravo piloto de la nueva China, 183.
  • 18. I have analyzed these letters elsewhere. See Blejmar, “Ficciones del yo y memoria epistolar de los anos setenta en la Argentina.”
  • 19. Friera, “Quise hacer un collage de distintos recuerdos y memorias.”
  • 20. Barthes, Roland Barthes by Roland Barthes, 3.
  • 21. Friera, Silvina, “Quise hacer un collage de distintos recuerdos y memorias.”
  • 22. Piglia, Critica y ficcion, 17.
  • 23. Piglia, La argentina enpedazos, 9.
  • 24. Molloy, Desarticulaciones, 9.
  • 25. Molloy, Desarticulaciones, 19.
  • 26. Molloy, Desarticulaciones, 23.
  • 27. Seman, Soy un bravo piloto de la nueva China, 76.
  • 28. Ibid.
  • 29. Molloy, Desarticulaciones, 32.
  • 30. Seman, Soy un bravo piloto de la nueva China, 120.
  • 31. “Hay algo que se agita internamente en un hombre que destroza a otro. Hay algo que reclama la afirmacion de su propia humanidad, porque en el intento de despersonalizacion de las victimas el mismo se despersonaliza, se deshuman- iza.” Calveiro, Podery desaparicion, 72.
  • 32. Seman, Soy un bravo piloto de la nueva China, 230.
  • 33. Seman, Soy un bravo piloto de la nueva China, 270.
  • 34. Rodriguez and Uribe, “Mama deda que papa era el demonio.”
  • 35. Quijano, “Les hadan cavar y los enterraban.”
  • 36. Bruzzone and Badaro, “La herencia de la dictadura. Hijos de represores: 30,000 quilombos.”
  • 37. When Quijano attempted to denounce his father he was told that children were not allowed to testify against their parents in Argentina. He asked what would happen when, for example, girls want to denounce sexual abuse carried out by their fathers, to which the response was, “that’s a different case because they are victims.” Quijano responded that, in his view, he was also a victim of his father.
  • 38. Schwab, “Haunting Legacies: Trauma in Children of Perpetrators,” 68.
  • 39. Mi vida despues was originally part of the Biodrama project, created in 2002 by Vivi Tellas for the Teatro Sarmiento. Biodrama ended in 2008 and Mi vida despues (originally Mi vida futura) was presented as an independent production in the same theatre. The play is a multifaceted, multimedia event, incorporating choreography (Luciana Acuna), live music (composed by Ulises Conti, Arias and Liza Casullo) and an interactive screen.
  • 40. Hall, “Who Needs Identity?,” 19.
  • 41. Bauman, Identity: Conversations with Benedetto Veeehi, 11.
  • 42. Arias, Mi vida despues, 51.
  • 43. Amado, “Memory, Identity and Film.”
  • 44. De Man, The Rethorie of Romanticism, 69.
  • 45. Rosso, “La mujer orquesta.”
  • 46. BBC Mundo, “La vida despues de Vanina Falco.”
  • 47. Sosa, “Queering Kinship. Performance of Blood and the Attaires of Memory,” 226.
  • 48. Hassoun, Los eontrabandistas de la memoria, 17.
  • 49. Derrida, Jacques and Elisabeth Roudinesco, For What Tomorrow...: A Dialogue, 3-4.
  • 50. Guagine, “Escribo para darle sentido a lo que vivi.”
  • 51. Seman, Soy un bravopiloto de la nueva China, 196.
  • 52. Seman, Soy un bravo piloto de la nueva China, 272.
  • 53. Seman, Soy un bravo piloto de la nueva China, 264.
  • 54. Ibid.
  • 55. Gamerro, Faeundo o Martin Fierro, 515.
  • 56. Calveiro, Poder y desaparieion, 137.
  • 57. Calveiro, Poder y desaparieion, 140.
  • 58. Foucault, Abnormal.
  • 59. Albercas, Elpaeto ambiguo, 28.
  • 60. Albercas, El paeto ambiguo, 29.
  • 61. Ireland, “Monstrous Writings,” 3.
  • 62. Ireland, “The Fact is that Writing is a Profoundly Immoral Act: Interview with Doubrovsky,” 45.
 
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