In "A Song of Sorrow: Voice, Body and Post-Memory in Claudia Llosa's La teta asustada", Chiara Magnante elicits a link between "the discourse about voice and the theme of memory and, more specifically, of post-memory" by examining the roles of voice and body in the performative enactment of post-memoy. Her inter-semiotic approach departs from the theoretical considerations of Paul Zumthor and Adriana Cavarero on the "presence of voice" and the question of memory, via the analysis of the 2009 film La teta asustada. After proposing a critical revision and reframing of the role of voice, the essay considers whether a specific use of language, one which attempts to reproduce the pathos and the suffering of the voice, can act as a means of resistance and of making sense of tragic events and daily violence.
Chiara Magnante (2013). A Song of Sorrow: Voice, Body and Post-Memory in Claudia Llosa's La teta asustada. Nottingham : Critical, Cultural and Communication Press.
A Song of Sorrow: Voice, Body and Post-Memory in Claudia Llosa's La teta asustada
MAGNANTE, CHIARA
2013
Abstract
In "A Song of Sorrow: Voice, Body and Post-Memory in Claudia Llosa's La teta asustada", Chiara Magnante elicits a link between "the discourse about voice and the theme of memory and, more specifically, of post-memory" by examining the roles of voice and body in the performative enactment of post-memoy. Her inter-semiotic approach departs from the theoretical considerations of Paul Zumthor and Adriana Cavarero on the "presence of voice" and the question of memory, via the analysis of the 2009 film La teta asustada. After proposing a critical revision and reframing of the role of voice, the essay considers whether a specific use of language, one which attempts to reproduce the pathos and the suffering of the voice, can act as a means of resistance and of making sense of tragic events and daily violence.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
