Embodying Memory in Contemporary Spain

Menezes, Alison Ribeiro de

doi:10.1057/9781137379948

Cited by 16 publications

(3 citation statements)

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“…Embodiment has been unpacked in a variety of conflict contexts: embodiment as memory work (Conway, 2007; Frankel, 2019; Ribeiro de Menezes, 2014), embodiment and conflict trauma (Gobodo‐Madikizela, 2020; Koureas, 2008), the gendered dimensions of embodiment (Fisher, 2011; Inkle, 2014), and how embodiment unfolds under the occupation (Bishara, 2015; Cooperman, 2021; Sasson‐Levy and Rapoport, 2003; Shalhoub‐Kevorkian, 2017). In the case of embodiment under occupation, Rema Hammami considers a neglected aspect of the occupation: moving away from the regular analyses of the spatial dimensions of the conflict and Israel's technological advances, she suggests that we look at “the embodied dirty work at its core” (2019, p. 87).…”

Section: Embodied Edgelandsmentioning

confidence: 99%

A Tapestry of Edgelands: Defining Carceral Edgeland(s) in Masafer Yatta (Firing Zone 918)

Gandolfo¹

2023

Sociology Lens

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The carceral edgeland occupies a unique position. At times, it is acknowledged; at others, it remains unseen by those outside its boundaries. In cases where the edgeland is architectural, such as a prison or a detention center, it can prompt viewers to consider the power dynamics exercised within. This article, however, is concerned with the possibilities for the edgeland to be moveable and embodied. Focusing on the transformation of the area of Masafer Yatta in the occupied West Bank into a military training zone, the article shifts the discourse from the connection between the edgeland and the symbolic power of carceral architecture to suggest alternative carceral edgelands: the occupying edgeland, wherein the moveable and embodied converge to form a tapestry of edgelands. The Israeli military presence varies in intensity, yet the result is the realization of Achille Mbembe's ‘infrastructural warfare’ (2003) that manifests through the moveable edgeland, and second, the embodied edgeland that is enacted by the military personnel who symbolize the state. In Masafer Yatta, the army's long‐term presence has had an impact on the communities that evokes Lauren Berlant's ‘political depression’ (2011). Building on Paul Farley and Michael Symmons Roberts' recognition of multitudinous edgelands (2012), this article suggests that there can be multiple carceral edgelands at one site, all of which facilitate exclusion and political depression through enclosure, whether through fences, walls, or moveable checkpoints.

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Section: Embodied Edgelandsmentioning

confidence: 99%

A Tapestry of Edgelands: Defining Carceral Edgeland(s) in Masafer Yatta (Firing Zone 918)

Gandolfo¹

2023

Sociology Lens

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“…This darkness represents safety, comfort and protection, whereas the brash Spanish sunlight that burns on the streets, in the school yard and finally into their home, signifies the danger and oppression of the Francoist state. This inverted opposition between light and dark, which is so prominent within the film, 'stress[es] the disruption that the war and the defeat have constituted for the vanquished', 13 a disruption that has forced a liberal and highly educated man to live in the shadows. Salvador, however, is depicted in both burning sunlight, in the schoolyard and on the street, and in near-darkness, inside the seminary and his boarding house.…”

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confidence: 99%

The middlebrow Spanish Civil War film: a site of mediation between culture and history.

Kemp¹

2017

belphegor

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“…En el mundo hispano este proceso ha culminado sobre todo a partir del cambio de Milenio, tanto en España como en América Latina (Hansen & Cruz Suárez 2012;González Martín & Cruz Suárez, 2013;Ribeiro de Menezes, 2014;Ros, 2012;Lillo, 2009;Lillo, 2013). Con un concepto acertado Sebastiaan Faber ha llegado a calificar las novelas que intentan a recuperar la memoria del sufrimiento de las víctimas muchos años después como novelas de memoria afiliativa (Faber, 2010).…”

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Memoria agonística en El hombre que amaba a los perros de Leonardo Padura (2009)

Hansen¹

2017

Diálogos

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La novela El hombre que amaba a los perros no presenta a uno sino a dos hombres que aman a los perros, León Trotski y su asesino Ramón Mercader, y la perspectiva con que se narra la historia cambia de forma alternante entre uno y otro. Este artículo discute qué aporta la inclusión de la perspectiva del victimario en el relato y propone enfocar este tipo de multiperspectivismo radical, que permite al lector comprender el punto de vista del victimario sin legitimar sus actos, como un modo ético-político diferente: el modo agonístico de hacer memoria.

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Embodying Memory in Contemporary Spain

Cited by 16 publications

References 0 publications

A Tapestry of Edgelands: Defining Carceral Edgeland(s) in Masafer Yatta (Firing Zone 918)

A Tapestry of Edgelands: Defining Carceral Edgeland(s) in Masafer Yatta (Firing Zone 918)

The middlebrow Spanish Civil War film: a site of mediation between culture and history.

Memoria agonística en El hombre que amaba a los perros de Leonardo Padura (2009)

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