The second mode, metamemory, is perhaps best illustrated by Albertina Carri’s Los rubios (2003). Metamemory discourse, through generational and aesthetic-methodological distancing, seeks to reveal memory’s limits, both individual and collective. In this mode, a lack of information about the hero figure’s death eclipses love bonds; it introduces an aesthetic and narrative distance that flattens affect. In Carri’s experience, when so little is known, when life is in such turmoil, it is difficult to speak from a place of emotion. Los rubios, therefore, sublimates affect, casting it as a void, and chooses to focus instead on illustrating memory’s limits and its decidedly performative and fictional qualities.
To that end, Los rubios juxtaposes metadiscourse about memory’s mechanics with the craft of filmmaking.
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Her mother’s personal reflection about her decision to leave Macarena in Cuba surfaces in their present-day conversations, underscoring MIR’s patriarchal/military structure, on the one hand, and its gender bias, on the other. In MIR’s strict value system, a true militant gave up everything for the revolution, disavowing affect and emotional attachments to parents, partners, and relatives. As many former female militants have asserted, the revolutionary organization became a kind of “uterus,” the place where all forms of social interaction and relationships took place. The militant, like Che Guevara, was the one who sacrificed himself and his family for the “people’s” cause. Personal interests were always subordinate to the revolution’s demands. Militancy required discipline and a stern sense of sacrifice that was masculine and military in nature, first and
What on the surface seems like simply replication is, in fact, is a foundation to Leon Bridge 's powerful evocation. Indeed it is the subtleties which 'Coming Home ' may deem it "retro," but the sentiment produced is longing, yet
Introduction The American Revolution was a very long and extensive war that lasted from 1775 until 1783, and as a result America gained its independence. It is very imperative to highlight the significant role that women played during the American Revolution. During this era a woman was often portrayed as illiterate, child-bearing mother, and a homemaker.
“For instance, qualities such as aggression, rationality, or physical courage are identified both as an essential component of war and also of masculinity at a given place or time” (Hutchings 389). What are described as traditional masculine behavior are considered to be important when it comes to
In the book Revolutionary Mothers, author Carol Berkin discusses women’s roles in the American Revolution. She separates out the chapters so that she can discuss the different experiences and roles of women during the period. She utilizes primary and secondary sources to talk about how women stepped into their husband’s shoes and maintained their livelihoods and how they furthered the war effort on both sides, as well as how classes and race effected each woman’s experience. Berkin’s main goal was for the reader to understand that although women’s roles aren’t traditionally discussed when talking about the American Revolution, nevertheless, they played a major part in it.
Rather than the simple linear progression of cause and effect and forgetting and moving on from the past, the characters constantly look forward and backward, continually changing while remembering and integrating both their own history and the totality of queer history. Though this seems unique, it is simply a small part of a larger queer time that does not fit within a strictly linear sense of time, as discussed by Raquel (Lucas) Plantero Méndez in “A Slacker and Delinquent in Basketball Shoes”. In both of these instances, the past becomes an integral part of not only one’s own history, but also one’s present and future. Remembering one’s own past or refusing to forget those who have passed becomes an act of resistance against a dominant culture that encourages constant
The Mirabal sisters were revolutionaries who opposed the dictatorship of Rafael Trujillo. During the revolution, they were given the code name “Las Mariposas”, or “the butterflies”. The term “mariposa” suits each sister in a different way. Patria, Dedé, Minerva, and Mate Mirabal each have their one reason to be compared to a butterfly. The nickname “mariposa” shows who the Mirabal sisters are; they transformed from domestic, innocent mothers and wives into brave, defiant martyrs for national freedom.
In Sherman Alexie’s short story, “War Dances,” the narrator unravels in thoughts and takes us through events in his life. He picks up by speaking about a cockroach that ends up dying in his Kafka baggage from a trip to Los Angeles. The cockroach still appears many times throughout the story. The narrator spends quality time in the hospital with his father, who is recovering from surgery due to diabetes and alcoholism, all along the way while he, himself, discovers he might have a brain tumor, leading his right ear to talk about his father. Using a style of tragedy and care both incorporate together a symbolic story that would make even a plain reader feel touched, leading to the major occurrence of a theme of the importance of family.
Memory is deployed in Distant Voices, Still Lives and My Winnipeg to enable the exploration of film form and narrative style within the texts. Through an experimentation of form and narrative both directors rely on memory to link their personal stories to wider themes within their films. The themes of society, the individual, and the overarching theme of memory can then be approached in an alternative manner by the art cinema style and the more avant-garde depiction of personal and public history. Both films represent memory in similar ways but use it as a means of experimentation with the classical cinema style of representation. Experiments with film form allow for an exploration of memory within both films that does not conform to classical
Using distinctively visual, sensory language and dramatic devices in texts allows the reader and audience to view as well as participate and relate to different emotions. In the fictional play “Shoe Horn Sonata” written by John Misto, 1995, Misto sets the scene by using dramatic devices to address the extremely confronting circumstances that the protagonists, Sheila and Bridie experience. Similarly, in the poem “Beach Burial” by Kenneth Slessor, 1944, Slessor too uses extremely strong visual language on the subject of war to overcome the gruesome realities of the subject matter. Misto’s play “Shoe Horn Sonata” shares the impacting journey two young women are forced to face, spending 1287 days in captivity in a Sumatran war camp, during world war two.
In "Salt to the Sea," author Ruta Sepetys portrays memory as both a source of suffering and of comfort for the characters. While memories provide some characters with a sense of belonging and identity, they also expose past traumas and injustices that lead to emotional pain and suffering. First off, Sepetys demonstrates how comforting memories can be for people like Joana and Emilia by reuniting them with their families and cultural roots. Moreover, several people in the book experience pain because of their memories. Ultimately, some characters are tormented by the shame and remorse brought on by their past transgressions.
Everyday people are judging and being judged by others with unique criteria that we, as inhabitants of Earth deem necessary checkmarks to be met to afford and be afforded tokens of civility. In Judith Ortiz Cofer’s “The Myth of the Latin Woman” the memoir is brimming with personal accounts of fetishiztation and discrimination the author experiences as a Latin woman that have vast influence on her life. Throughout the text Cofer conveys the significance of how deep the status “exotic” to describe Latina women is held inside the minds of people which the author alludes to on page 879, “I thought you Latin girls were supposed to mature early,” [1] after being given a sudden, non-consensual kiss at a dance by her date. The author expresses the cultural dissonance between
Stories are the foundation of relationships. They represent the shared lessons, the memories, and the feelings between people. But often times, those stories are mistakenly left unspoken; often times, the weight of the impending future mutes the stories, and what remains is nothing more than self-destructive questions and emotions that “add up to silence” (Lee. 23). In “A Story” by Li-Young Lee, Lee uses economic imagery of the transient present and the inevitable and fear-igniting future, a third person omniscient point of view that shifts between the father’s and son’s perspective and between the present and future, and emotional diction to depict the undying love between a father and a son shadowed by the fear of change and to illuminate the damage caused by silence and the differences between childhood and adulthood perception. “A Story” is essentially a pencil sketch of the juxtaposition between the father’s biggest fear and the beautiful present he is unable to enjoy.
“Someone will Remember Us,” holds the hope that even in death, someone will remember and thus those people will be a part of history. However, in Renée Vivien’s translation of the poem, concepts such as, “erotic suffering, obsession, and anxiety” are present. Nonetheless, those negative emotions resulted in “eternal devotion” within the poem (36). Through the translation of Sappho’s poem, Vivien takes on the role of Sappho’s lover, and thus she proves that someone did remember her. Love believes that Sappho and Vivien both represent loneliness and isolation within the poem.
This article will bolster my argument by providing these numerous examples and allowing me to explore and present the thoughts of another writer exploring a very similar topic. Ultimately, in my paper, this source will serve as a jumping-off point for many of my arguments. In doing this, I hope to employ it early and often to give my paper frame, direction, and purpose. Toscano, Margaret M. "Homer Meets the Coen Brothers: Memory as Artistic Pastiche in O Brother, Where Art Thou?.
This highlights the importance of how these acts of cruelty Mariam and Laila faced; ‘fear of the goat, released in the tiger’s cage’ is what ultimately defines their inner feminist strength, ‘over the years/learned to harden’ which shows that Mariam and Laila’s past indirectly prepares them for The Taliban’s arrival. The Taliban take away the basic rights of Mariam and Laila ‘jewellery is forbidden’, but they fail to do so. Ironically, it is the society itself that gives them the strength and platform to strike back against Rasheed, who is a cruel, male-dominating character who symbolised and reinforced everything the term ‘anti-feminist’ stands