« De la littérature de l'exil à une littérature migrante : de nouvelles modalités d'échanges culturels» La communication révise certaines idées fondamentales autour du concept de « littérature nationale », catégorie qui demeure valide dans le cadre actuel d'une reconfiguration des limites entre local et global. Les discussions autour de « world literature » et les nouveaux concepts des études comparatistes (Damrosh, 2003 ; Casanova, 1999 ; Moretti, 2005 ; Apphia, 2005 ; Beck, 2006 ; Apter, 2006) montrent l'actualité de cette problématique. D'autre part, les réflexions théoriques autour du déplacement, traditionnellement désignées par la catégorie globale de « l'exil » ont reçu une nouvelle dénomination, celle de « migrante » (Mardossian, 2002), dénomination qui fait écho aux transformations de la production littéraire et à celles de l'expérience de la transculturation que représentait le statut antérieur de l'exilé. À notre avis, la discussion autour de l'appellation de « word literature » aussi bien que le nouveau statut de « littérature migrante » proviennent d'une récente suite d'échanges et de transactions culturels ayant une configuration nouvelle. Cela oblige à remettre à plat des notions généralement acceptées sur la relation entre littérature et nation. C'est pourquoi la modification de ces concepts offre un champ privilégié à l'analyse de nouvelles modalités d'échanges culturels.

This article examines the figure of the desaparecido as a transnational symbol, focusing on the 'success' this figure has had in the contemporary debate about memory in Spain. Taken from the repressive context of the dictatorships of the 1970s in South America, the disappeared have travelled to the Spain of the twenty-first century, where they are progressively replacing the former 'fusilados y paseados' of the Franco Regime. After charting the ways in which the term has been used in the public debate, we analyse the figure of the disappeared in the novel, El vano ayer, by the Spanish writer Isaac Rosa.'My grandfather was also a desaparecido' is the title of an article published in a newspaper in 2000. It is Emilio Silva, grandson of a fusilado (one who has been shot) in the Spanish Civil War, who makes this statement. The article, published in La crónica de León 1 tells of how Silva decided to find the remains of his grandfather, shot in 1936, exhume them from the mass grave to which they had been condemned by the Franco regime, and bury them in a cemetery with a plaque commemorating his memory. The use of the term desaparecido from the very title itself illustrates how the figure of the disappeared, an emblematic figure of Latin America and strongly associated with Argentina, has been claimed for the last decade in Spain to refer to the fusilados of Francoism. The transnationalisation of the figure of the disappeared, or the 'desaparecido transnacional' 2 is an illustrative process of the transnational exchanges, crossroads, decontextualisations and recontextualisations that are characteristic of transnational memory; likewise, of a debate marked by ambiguity, which the title condenses in an exemplary manner. What does the term 'also' mean in 'My grandfather was "also" a desaparecido'? Does it mean that Silva's grandfather is

This article discusses the imaginary that digital memories are ‘placeless’, which refers to the notion that, among the changes that memory has experienced under the impact of digital media, one is the loss of a significant link to place. I contend that digital memories are not placeless memories, but, on the contrary, that place is central for digital memory work. Drawing on the concept of ‘performation’, I seek to demonstrate how place is created, executed and staged in the digital ecology. To illustrate this, I analyse two works of the research agency Forensic Architecture, ‘Hannibal in Rafah’ and ‘Saydnaya: Inside A Syrian Torture Prison’, in which ‘place’ plays a central role in the shaping of digital memory. Digital media’s ‘inherently archival’ nature acquires a different meaning in these works: it is the process of collecting and mapping the dispersed fragments of data that transforms the archive into memory.

Este artículo examina el concepto de ‘memoria transnacional’ y su relevancia para el estudio de la memoria colectiva en el ámbito hispánico. Primero, exploro los términos teóricos usados para referir a una dimensión transnacional de la memoria, tales como ‘travelling’, ‘multidirectional’, ‘cosmopolitan’ o ‘globital’ memory. Segundo, distingo entre diferentes modos de concebir lo transnacional: como ‘condición histórica’ o ‘perspectiva hermenéutica’, ‘circulación’ o ‘negociación’. Por último, luego de evaluar su pertinencia para el análisis del fenómeno de la desaparición en el ámbito hispánico, discuto el carácter legítimo de la apropiación de la figura del desaparecido en otros contextos diferentes del original.This article examines the concept of ‘transnational memory’ and its relevance for the study of collective memory in the Hispanic world. First, I explore the terms used to refer to a transnational dimension of memory, such as ‘travelling’, ‘multidirectional’, ‘cosmopolitan’ or ‘globital’. Second, I distinguish between different ways of conceiving of the transnational, as a ‘historical condition’ or ‘hermeneutic perspective’, as related to an imaginary of ‘circulation’ or ‘negotiation’. Finally, after assessing its relevance for the analysis of the phenomenon of disappearance in the Hispanic world, I discuss the legitimacy of the appropriation of the figure of the ‘disappeared’ in contexts that differ from the original one.