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Nelly Richard is one of the most prominent cultural theorists
writing in Latin America today. As a participant in Chile's
neo-avantgarde, Richard worked to expand the possibilities for
cultural debate within the constraints imposed by the Pinochet
dictatorship (1973-1990), and she has continued to offer incisive
commentary about the country's transition to democracy. Well known
as the founder and director of the influential Santiago-based
journal Revista de critica cultural, Richard has been central to
the dissemination throughout Latin America of work by key
contemporary thinkers, including Nestor Garcia Canclini, Jacques
Derrida, Fredric Jameson, and Diamela Eltit. Her own writing
provides rigorous considerations of Latin American identity,
postmodernism, gender, neoliberalism, and strategies of political
and cultural resistance. Richard helped to organize the 1987
International Conference on Latin American Women's Literature in
Santiago, one of the most significant literary events to take place
under the Pinochet dictatorship. Published in Chile in 1993,
Masculine/Feminine develops some of the key issues brought to the
fore during that landmark meeting. Richard theorizes why the
feminist movement has been crucial not only to the liberation of
women but also to understanding the ways in which power operated
under the military regime in Chile. In one of her most widely
praised essays, she explores the figure of the transvestite,
artistic imagery of which exploded during the Chilean dictatorship.
She examines the politics and the aesthetics of this phenomenon,
particularly against the background of prostitution and shantytown
poverty, and she argues that gay culture works to break down the
social demarcations and rigid structures of city life.
Masculine/Feminine makes available, for the first time in English,
one of Latin America's most significant works of feminist theory.
Citizens of Memory explores efforts at recollection in
post-dictatorship Argentina and the hoped-for futures they set in
motion. The material, visual, narrative, and pedagogical
interventions it analyzes address the dark years of state
repression (1976-1983) while engaging ongoing debates about how
this traumatic past should be transmitted to future generations.
Two theoretical principles structure the book's approach to
cultural recall: the first follows from an understanding of memory
as a social construct that is always as much about the past as it
is of the present; the second from the observation that what
distinguishes memory from history is affect. These principles guide
the study of iconic sites of memory in the city of Buenos Aires;
photographic essays about the missing and the dictatorship's
legacies of violence; documentary films by children of the
disappeared that challenge hegemonic representations of seventies'
militancy; a novel of exile that moves recollection across national
boundaries; and a human rights education program focused on memory.
Understanding recollection as a practice that lends coherence to
disparate forces, energies, and affects, the book approaches these
spatial, visual, and scripted registers as impassioned narratives
that catalyze a new attentiveness within those they hail. It
suggests, moreover, that by inciting deep reflection and an active
engagement with the legacies of state violence, interventions like
these can help advance the cause of transitional justice and
contribute to the development of new political subjectivities
invested in the construction of less violent futures.
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