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Spanish and Latin American memory novels

  • Hans Lauge Hansen
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Landscapes of Realism
Ein Kapitel aus dem Buch Landscapes of Realism

Abstract

The contemporary recuperation of the dark memory of civil wars and dictatorial pasts has led to a considerable alteration of the realist novel in the Spanish-speaking world. The memory of past violence and atrocity is a topic capable of arousing strong emotions and ethical engagement, and the sub-genre of the memory novel has emerged as one of the most popular in Spain as well as in Latin America. This new realist novel dedicated to the memory of violent pasts is characterized by its social commitment to pay tribute to the victims of repression and by the inclusion of non-fictional elements (docufiction, autofiction, novel without fiction, etc.), but there are also differences. This article takes its point of departure in the description of the Spanish memory novel as it has emerged since the turn of the century, with the aim of comparing its defining traits to the Latin American novel, primarily in relation to the concept of trauma. A hypothesis governing the article is that the Spanish memory novel is primarily oriented towards the cognitive creation of knowledge and truth authentication of the past, and uses emotion as a way to arouse compassion. The Latin American memory novel, on the other hand, mostly follows the narrative template of trauma literature in order to represent what is not expressible: the memory of the horrific experience itself. The article discusses how and to what extent differences in the memory cultures involved might explain such differences in the form of the novel.

Abstract

The contemporary recuperation of the dark memory of civil wars and dictatorial pasts has led to a considerable alteration of the realist novel in the Spanish-speaking world. The memory of past violence and atrocity is a topic capable of arousing strong emotions and ethical engagement, and the sub-genre of the memory novel has emerged as one of the most popular in Spain as well as in Latin America. This new realist novel dedicated to the memory of violent pasts is characterized by its social commitment to pay tribute to the victims of repression and by the inclusion of non-fictional elements (docufiction, autofiction, novel without fiction, etc.), but there are also differences. This article takes its point of departure in the description of the Spanish memory novel as it has emerged since the turn of the century, with the aim of comparing its defining traits to the Latin American novel, primarily in relation to the concept of trauma. A hypothesis governing the article is that the Spanish memory novel is primarily oriented towards the cognitive creation of knowledge and truth authentication of the past, and uses emotion as a way to arouse compassion. The Latin American memory novel, on the other hand, mostly follows the narrative template of trauma literature in order to represent what is not expressible: the memory of the horrific experience itself. The article discusses how and to what extent differences in the memory cultures involved might explain such differences in the form of the novel.

Kapitel in diesem Buch

  1. Prelim pages i
  2. Table of contents vii
  3. List of illustrations xi
  4. Editors’ preface and acknowledgments xiii
  5. Note on translations, cross-references and documentation xv
  6. Introduction 1
  7. Chapter 1. Psychological pathways
  8. Core essay
  9. “Memories inwrought with affection” 29
  10. Case studies
  11. The interplay between emotion and memory 135
  12. Situations of sympathy 151
  13. The poetics of disgust in realist fiction 169
  14. Attunement 185
  15. Spanish and Latin American memory novels 201
  16. History and untold memories 217
  17. Chapter 2. Referential pathways
  18. Core essay
  19. Material matters 233
  20. Case studies
  21. Curating realism in a world of objects 271
  22. Caricature and realism 287
  23. Realism and allegory 303
  24. “Distance avails not” 317
  25. Toward affective realism 337
  26. Posthumanism and realism 351
  27. Chapter 3. Formal pathways
  28. Core essay
  29. Dynamics of realist forms 367
  30. Case studies
  31. Forms of realism in children’s literature 473
  32. Early theatrical realism on page and stage 489
  33. Poetry, Pessoa and realism 503
  34. The making of the historical narrative in the Swahili utenzi 519
  35. Photography and dissent in John Lewis’s graphic novel March 535
  36. The visions of John Ball 549
  37. Chapter 4. Geographical pathways
  38. Core essay
  39. Dialogic encounters 565
  40. Case studies
  41. Varieties of theatrical realism after Ibsen 667
  42. Is there a notion of ‘realism’ in traditional China? 685
  43. Worlding of realism 703
  44. The real magic in Miguel Ángel Asturias’s magical realism 721
  45. Narrate or describe 737
  46. Realism in the colony 751
  47. Notes on contributors 763
  48. Index 767
Heruntergeladen am 28.9.2025 von https://www.degruyterbrill.com/document/doi/10.1075/chlel.xxxiii.06han/html
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