testimonioresistance.pdf

8/14/2019 testimonioresistance.pdf

1/18

!"#$%&' )*"'+*%, -#./'$'*%01 2*3&%14 5#3$+'" 6olume 12 2010789::

"#

!"#$%" '()*" $+, !"#)+)-. /"0.1 !"#$%&'(%'$- $

!(2# (3 4"-)-.$+*" )+ 5$.)+ 6#"2)*$

;< ='*>$

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

!" $%&' ()(*+, ! -&'./'' %01 2*3 $*'$&40"&)5 $*6$', 0+ $*'$&40"&0, +*7'.+&($ %&'$0+3, +*7

-*8&"* 5&$*+)+3 .0"9*"$&0"' )"- +*7&"'.+&:* 0$%*+1&'* &;"0+*- '$0+&*'< ! )+;/* $%)$Latin American womens testimonio directly challenges the authoritarian powers

$%+*)$*"&"; (*).* &" 4)"3 .0/"$+&*'< ! /'* $%+** .)'* '$/-&*'= !, >&;0:*+$) ?*".%@,

1%&.% -*"0/".*' 4&5&$)+3 -&'.+&4&")$&0" );)&"'$ &"-&;*"0/' A/)$*4)5)"'B C%* D&$$5*

School, which reveals the Argentinian governments atrocities; and The Inhabited

E04)", 1%&.% .+&$&.&F*' $%* G&.)+);/)" ;09*+"4*"$ )' 1*55 )' $%* .%)/9&"&'4 08

4)5* +*905/$&0")+&*'< C%&' *'')3 '**2' $0 8/+$%*+ +*.0;"&F* $*'$&40"&0 )' )"

empowering and powerful mode of womens resistance at the margins.

7+.2(,8*.)(+

B'*%+ ).1$%,'+ C#.1+ $1',* %+ ' .1 C'I1 #D ',*%0%4* #$E'+%H'*%#+4 43,> '4 G>1

?#*>1$4 #D *>1 J"'H' &1 ?'1 .%"%tarys (orjuntasK 'L&3,*%#+ '+& *#$*3$1 #D *>1%$ ,>%"&$1+ '+& D'.%"1 ?#*>1$4 #D *>1 J"'H' &1 ?'%4

/'/1$F >#C101$F D#,3414 #+ ' .#$1 '*1

'D#$1.1+*%#+1& '*$#,%*%14 %+ )$E1+*%+'F D#$ 1O'./"1F C$%*1$ )"%,%' J'$*+#< *##I 3/

>1$ /1+ '+& C$#*1 *>1 *14*%.#+%'" +#01" C%* D&$$5* H.%005, C>%,> &14,$%L14 >1$

1O/1$%1+,14 '4 ' /#"%*%,'" /$%4#+1$@ 2>1 *>1+ &%441.%+'*1& *>1 L##I *>$#3E>#3* *>1

%+*1$+'*%#+'" ,#..3+%*< %+ #$&1$ *# $14%4* *>1 #//$144%01 $1E%.1@ N+ *>%4 /'/1$F N

&%4,344 >#C I1< *14*%.#+%'" *1O*4F 43,> '4 Jartnoys, re74,$%/* >%4*#$


2/18


3/18


4/18

!"#$%&' )*"'+*%, -#./'$'*%01 2*3&%14 5#3$+'" 6olume 12 2010789::

"%

*1,>+%,'""< D%,*%#+'"F %* 1O3&14 *>1 '3$' '+& ,#+*1+* #D survival tales a+&

$*'$&40"&0@ C%* !"%):&$*- E04)" V:WWYK %4 ' 4/1,%'" %+4*'+,1 #D $*'$&40"&0L1,'341

;1""% %4 0'E31 C>1+ %* ,#.14 *# &1*'%"4@ 2>1 +#* 411I *# %+&%,* /'$*%,3"'$

.%"%*'$< #DD%,%'"4F '4 J'$*+#< F 4# .3,> '4 4>1 4*$%014 *# *1"" *>1 4*#$< #D *>1

2'+&%+%4*' 4*$3EE"1 'E'%+4* *>1 Z%,'$'E3'+ &%,*'*#$4>%/ #D )+'4*'4%# 2#.#H'@

)&&%*%#+'""1$ *14*%.#+%'" +#01"4 %+ *>'*

%* '**',I4 *>1 /'*$%'$,>< #D .'4,3"%+%*< '4 C1"" '4 *>1 &%,*'*#$4>%/@ ;1""% *'I14 '

/'$*%,3"'$"< E1+&1$1& 4*'+,1 %+ >1$ C#$IF &14,$%L%+E *>1 L"1 .'$E%+'"%*< #D >1$

.'%+ ,>'$',*1$F B'0%+%'F C># %4 L#*> ' $1L1" D%E>*1$ '+& ' C#.'+@ G>$#3E> *>1

,>'$',*1$ #D B'0%+%'F ;1""% *1""4 >1$ #C+ 4*#$< #D &%4,$%.%+'*%#+F 101+ %+ *>1

supposedly liberated rea". #D *>1 ?#0%.%1+*#@ G>$#3E> C%* !"%):&$*- E04)",

;1""% #DD1$4 ' +1CF E1+&1$1&F '+& /'$*%,3"'$"< D1.%+%4* &%.1+4%#+ *# *>1 E1+$1 #D

$*'$&40"&0#$%*'$%'+ $3"1 '$1

+# +1Ccomers to the Latin American political scene, but womens open and direct

opposition to them is (Sternbach 91). N+&11&F %+ *>1 "'4* >'"D #D *>1 *C1+*%1*>

,1+*3$< '+& *>1 L1E%++%+E #D *>1 *C1+*1 &%$1,*%#+ %+ C>%,> *>1%$ ,#3+*$< C#3"& .#01@ G>11


5/18

!"#$%&' )*"'+*%, -#./'$'*%01 2*3&%14 5#3$+'" 6olume 12 2010789::

"&

1O%4*%+E 4%*3'*%#+'+& #DD1$1& '+ '"*1$+'*%01 0%4%#+ #D 4#,%1*< L'41& #+

&1.#,$',%4 $1L1""%#+F D#,34%+E #+ S3'*1.'"'F )$E1+*%+'F '+&

Z%,'$'E3' $14/1,*%01"141 C#.1+ 341 *>1%$ D#$.%&'L"1 4I%""4 '4 C$%*1$4 *# %+&%,*

'3*>#$%*'$%'+ E#01$+.1+*4 '+& /'*$%'$,>'" $1L1" D%E>*1$4 '"%I1@

G>1 C'< %+ C>%,> $*'$&40"&0has evolved as a form of womens resistance is

characteristic of Saskia Weiringas description of social movements in her book,

H/:9*+'&9* E04*"= K&'$0+&.)5 I6(*+&*".*' 08 A*"-*+ )"- >*'&'$)".*< a1%$%+E'

&1,"'$14M Movements are not static; *>1< 4>#3"& L1 411+ '4 /$#,14414 C>%,> '$1

.#&%D%1& '4 *>1< ,#.1 %+*# ,#+*',* C%*> 101$'* B'*%+ ).1$%,'+ C#.1+ ,#+D$#+* /#"%*%,4@ G>1 '3*>#$4 #D

$*'$&40"&0engage in this process of reflection, communication and negotiation in

*>1%$ *1O*4F ,$1'*%+E ' E1+$1 %+ C>%,> *>1< '4 C#.1+ '+& '4 B'*%+ ).1$%,'+ ,%*%H1+4

,'+ 0#%,1 *>1%$ &%4,#+*1+*@


6/18

!"#$%&' )*"'+*%, -#./'$'*%01 2*3&%14 5#3$+'" 6olume 12 2010789::

"'

!3$*>1$F %+ *>1 %+*$#&3,*%#+ *# >1$ L##IF a1%$%+E' asserts that womens acts

of resistance are not only subversive, but sub7versive, highlighting how,

internationally, women are deeply involved %+ ,%$,3.01+*%+EF 3+,#&%+EF '+&

&1+1 0'$%#34F &%4*%+,*F '+& .3"*%7"'%,> *>1%$ 43Lc3E'*%#+ %4

&14,$%L1&F '+& %+ $1/"',%+E *>1. C%*> *>1%$ #C+ 01$414 V:78K@ a>%"1 a1%$%+E' %4

&%4,344%+E G>%$& a#$"& C#.1+ %+ E1+1$'"F >1$ '$E3.1+* $%+E4 14/1,%'""< *$31 D#$

B'*%+ ).1$%,'+ C#.1+ C$%*1$4@ G>141 '3*>#$4F '4 C1"" '4 #*>1$ /#"%*%,'" ',*%0%4*4F

'$1 $1L1""%+E 'E'%+4* /'*$%'$,>'* %4 4# I1< *# $*'$&40"&0 %4 *>1 C'< %+ C>%,>

*14*%.#+%'" C$%*1$4 341 *>1 C$%**1+ C#$& '4 *>1%$ C1'/#+ 'E'%+4* /'*$%'$,># C%4>14 *# *1"" >1$P>%4 4*#$< #D *$'3.'@ ?#$1 4/1,%D%,'""+

;101$""1* V*>'* %4F /$%+*1& '4 #//#41& *# ',#34*%,K D#$.F *#"& %+ *>1 D%$4* /1$4#+ L'* '* "1'4* E%014 %* ,$1&1+,1 '4 ' "%*1$'$< E1+$1@

)4 ?'$, d%..1$.'+ 4*'*14 %+ D&$*+)$/+* )"- >*'&'$)".* &" A/)$*4)5)F >#C101$F[c]learly testimonio is a form in which literary and social considerations become

necessarily and overtly intertwined, and because of this interse,*%#+'"%*


7/18

!"#$%&' )*"'+*%, -#./'$'*%01 2*3&%14 5#3$+'" 6olume 12 2010789::

"(

C*'$&40"3 )"- >*'&'$)".* 8+04 J*"$+)5 N4*+&.), [t]>1 D#$. #D *14*%.#+< .'< 0'$%4*#$%,'" +#01"F %+*1$0%1CF

/>#*#E$'/>4F /$%4#+ .1.#%$4F &%'$$#+%,"1F "1**1$F +1C4/'/1$ '$*%,"1F

'+*>$#/#"#E%,'" #$ 4#,%'" 4,%1+,1 ,3.1ntary; it can be fiction or nonfiction (Craft

88K@ G>1 *1O*4 *>'* N '. ,>##4%+E *# 1O/"#$1 '$1 .#$1 *$'&%*%#+'" $*'$&40"&0' %+

+#01" D#$. L3* 101+ C%*> *>%4 ,#..#+'"%*< *>1 *>$11 0'$&;0:*+$) ?*".%@ %4

"'$E1"< '3*#L%#E$'/>%,'" L3* '"4# 4#.1C>'* '+*>$#/#"#E%,'"F E%01+ *>'* >1$

%+*1$.1&%'$ D%,*%#+'"

4>#$* 4*#$%14F C>%"1 '"4# E%0%+E *>1 $1'&1$ D',*4 'L#3* *>1 ,#+,1+*$'*%#+ ,'./ *>'*

,#3"& ,#+0%,* >1$ '**',I1$4F 43,> '4 *>1 />1 +'.14 '+&

+%,I+'.14 #D *>1 E3'$&4F '+& *>1 +'.14 #D #*>1$ \%4'//1'$1& /1#/"1@ B'4*"1 ,"#414* *# ' D%,*%#+'" +#01"F L3* %* ,#+*'%+4 '3*#L%#E$'/>%,'"

1"1.1+*4 '4 C1"" L1,'341 S%#,#+&' ;1""% C'4 ' $1L1" D%E>*1$ '+& 1O/1$%1+,1& *>1

4'.1 L"1 #//$144%#+ C>%,> 4>1 &1/%,*4 %+ *>1 +#01"@

a%*> $*'$&40"&0, *>1+F %* %4 '//'$1+* >#C .'+< &1D%+%*%#+4 '+& D#$.'*4 ,'+

,#01$ c34* #+1 "%*1$'$< E1+$1@ a%*>%+ *>1 *>$11 ,'41 4*3&%14 N 341F *>1 '3*>#$4 E%01 34

0'$%#34 /1$4/1,*%014U C>'* L%+&4 *>1. *#E1*>1$F >#C101$F %4 *>1%$ E#'" #D C$%*%+E

*>141 4*#$%14M *# D%E>* 'E'%+4* *>1%$ #//$144#$4 '+& E'%+ $1,#E+%*%#+ D#$ #*>1$

&%4'&0'+*'E1& C#.1+ '+& .1+ %+ *>1%$ 4%*3'*%#+@ As Zimmerman writes: By virtue

#D %*4 ,#""1,*%01 $1/$141+*'*%01+144F *14*%.#+%# %4F #01$*"< #$ +#*F '+ %+*1$*1O*3'"

&%'"#E31 #D 0#%,14F $1/$#&3,%+E L3* '"4# ,$1'*%01"< $1#$&1$%+E >%4*#$%,'" 101+*4 %+ '

C'< C>%,> %./$14414 '4 $1/$141+*'*%01 '+& *$31 '+& C>%,> /$#c1,*4 ' 0%4%#+ #D "%D1

and society in need of transformation (Zimmerman 12). The same collectivity,

%+*1$41,*%#+'"%*< '+& %+*1$*1O3'"%*< *>'* .'I14 $*'$&40"&0&%DD%,3"* *# /%+/#%+* %4 '"4#

%*4 E$1'*14* 4*$1+E*>@ N* %4 ' E1+$1 *>'* ,'+ L1 .'+%/3"'*1& %+ 0'$%#34 C'1 0#%,1"144@

Women in a Masculine Genre

)"*>#3E> B'*%+ ).1$%,'+ C#.1+ >'01 '//$#/$%'*1& $*'$&40"&0D#$ *>1%$ 341

'4 $14%4*'+,1F %* C'4 +#* '"C' ' ,"1'$"< D1.%+%+1PD1.%+%4* ,'*1E#$1$


8/18

!"#$%&' )*"'+*%, -#./'$'*%01 2*3&%14 5#3$+'" 6olume 12 2010789::

")

article, The Case For and Case History of Womens Testimonial Literature in Latin

America, Linda Maier points out that the word $*'$&40"&0 %*41"D 1O,"3&14 C#.1+

completely: -3$%#34"1 *1$. $*'$&;0 O1&$"*''P'+& $*'$&40"&0 O$*'$&40"3P&1$%01

1*1 2/'+%4> +#3+

4# C>1+ C#.1+ '$1 C%*+14414F *>1< '$1 $1D1$$1& *# '4 5) $*'$&;0 (Maier 3). Given

that there is not even a female version of the word to witness, it seems unlikely

*>'* C#.1+ C#3"& >'01 *'I1+ #01$ ' "%*1$'$< E1+$1 )55 ):0/$C%*+144%+EF L3* *>%4 %4

indeed the case. Maier triumphantly goes on to assert that [i]+ ,#+4%&1$'*%#+ #D

womens generic exclusion from testimonial discourse, their appreciation of the

E1+$1 '+& '4cendancy appear all the more noteworthy (Maier 3).

Margarite Fernndez Olmos concurs with Maiers position in her essay,

Womens Writing in Latin America: Critical Trends and Priorities. Olmos argues

that in recent years there has arisen a distinct female voice in literature that

distinguishes itself from the Latin American patriarchal tradition (Olmos 139).

!3$*>1$.#$1F N4'L1" \3"D'+# .'I14 ' ,'41 D#$ L#*> ' D1.'"1 )"- %+&%E1+#34

/$141+,1 %+ $*'$&40"&0 as she notes that, [i]n particular, both w#.1+ '+&

%+&%E1+#34 '3*>#$4 >'01 H1'"#34"< '//$#/$%'*1& $*'$&40"&0 '4 'O%#.'*%, D#$ *>1%$

41"D7definition (Dulfano 82). In other words, despite the inherent masculinity and

1"%*%4. %+ *>1 &1D%+%*%#+ #D *14*%.#+< '+& *>1$1D#$1 $*'$&40"&0F B'*%+ ).1$%,'+

C#.1+ C$%*1$4F %+&%E1+#34 '+& +#+7%+&%E1+#34F >'01 43,,144D3""< '//$#/$%'*1& *>1

E1+$1 %+ *>1%$ ,#+*%+31& 1DD#$*4 *# 1+& /'*$%'$,>(?)%)@)+A .9" 7+."2+$.)(+$% B(##8+).C

G>1$1 '$1 .'+< /3$/#414 D#$ C>%,> B'*%+ ).1$%,'+ C#.1+ C$%*1 *14*%.#+%'"

"%*1$'*3$1U #+1 #D *>1 .#$1 %..1&%'*1 $1'4#+4 %4 *# E'%+ '%& '+& 41 ,'41 #D

)"%,%' J'$*+#1$ 4*#$< '4 ' \%4'//1'$1& /1$4#+ C#3"& +101$ L1 %+4,$%L1& %+*#

#DD%,%'" >%4*#$


9/18

!"#$%&' )*"'+*%, -#./'$'*%01 2*3&%14 5#3$+'" 6olume 12 2010789::

"*

writes, [o]+1 #D *>1 /$%.'$< /3$/#414 #D *>%4 *1O* e$*'$&40"&0] %4 *>1 &1+3+,%'*%#+ #D

injustice and the defense of societys marginalized or excluded [] by those same

/1#/"1 (Craft 5). ?#$1#01$F '4 a resistance narrative, the testimonial novel has

L11+ *$'+4"'*1& '+& C%&1"< &%441.%+'*1& D#$ /#"%*%,'" '+& ,3"*3$'" $1'4#+4#D*1+

reaching a public far greater outside Latin America than within the region (Craft 3).

\31 *# *>1 '*.#4/>1$1 #D D1'$ %+ .any of the authors native countries, '+& *>1

1O*$1.1 /#01$*< #D .'+< #D *>1 ,%*%H1+4F *14*%.#+%'" +#01"4 .'< +#* $1,1%01 ' "#* #D

#01$* '**1+*%#+@ T+,1 *>141 *1O*4 $1',> *>1 %+*1$+'*%#+'" ,#..3+%*#C101$F *>13.'+ $%E>*4 #DD1+414 '4 C1"" '4 ,'3414 D#$ ',*%#+@ ;101$"%4 /#%+* %+ >%4 L##I #+ $*'$&40"&0F /#4%*%+E *>'* *14*%.#+%'" +#01"4 '$1

used primarily as a way of mobilizing international opinion in favor of an end to the

violence (84). This is exactly how Alicia J'$*+#< 3*%"%H1& >1$ /$%4#+ .1.#%$4 %+ C%*

D&$$5* H.%005F '4 4>1 /$141+*1& >1$ L##I '4 10%&1+,1 *# *>1 f+%*1& Z'*%#+4 '+& '*

%+*1$+'*%#+'" ,#3$* >1'$%+E4 'L#3* *>1 \%4'//1'$1& %+ )$E1+*%+'@ 2>1 ,"'%.4 *# >'01

C$%**1+ C%* D&$$5* H.%005 +#* #+"< D#$ >1$41"DF L3* '"4# D#$ '"" #D *>1 #*>1$ /#"%*%,'"

prisoners who were tortured, killed, or exiled. By publishing these stories, Partnoy

says, I feel those voices will not pass unheard (18).

D"3C)+A E(F"2+#"+.$% G==2"--)(+

C*'$&40"&0 %4 +#* c34* ' *1O* D#$ *>1 %+*1$+'*%#+'" ,#..3+%*1< '"4#

41$01 ' /3$/#41 %+ *>1%$ #C+ ,#3+*$%14 #D #$%E%+F ,#01$*"< %D +#* #01$*"#$4 ;1""%F J'$*+#


10/18

!"#$%&' )*"'+*%, -#./'$'*%01 2*3&%14 5#3$+'" 6olume 12 2010789::

$+

that we may begin to speak of womens specific testimonial discourse (Sternbach

W^K@ C*'$&40"&0deliberately blurs the line between the personal and the political

*# E%01 *>1 C#.1+ V'+& .1+K %+ *>1 .'$E%+4 ' 0#%,1@

B9$%%"+A)+A 5)."2$2C B(+F"+.)(+-

N+ &%4,344%+E testimonios /$1,'$%#34 /"',1 %+ "%*1$'*3$1F /'$*%,3"'$"< %+

a14*1$+ *$'&%*%#+4F "%*1$'$< ,$%*%, d%..1$.'+ ,'+&%&"< &1,"'$14F [t]14*%.#+%# ,'""4

%+*# b314*%#+ *>1 01$< %+4*%*3*%#+ #D "%*1$'*3$1 '4 '+ %&1#"#E%,'" '//'$'*34 #D

alienation and domination (Zimmerman 15). Indeed, the Western literary ,'+#+

>'4 #D*1+ L11+ 341& '4 ' ,>1,I *# I11/ +#+7C>%*1F +#+7.'"1F +#+71"%*1 /1#/"1 %+

*>1%$ /"',1 '4 T*>1$@ S1#$E S3E1"L1$E1$ '+& ?%,>'1" =1'$+< 1O/"#$1 *>%4 *>1.1 #D

literary Otherness in their article, Voices for the Voiceless: Testimonial Literature

in Latin America. G>1< '$E31 *>'* *$'&%*%#+'" C$%*%+E 'L#3* ,#"#+%'"%4. >'4 '"C'%*1 .%44%#+'$%14KF '$1 343'""< *>1 #+14

&%,*'*%+E *>1 '*$#,%*%14 *>'* *>1< *>1.41"014 /3* %+*# /"',1@ N+ *>1 ,'41 #D $*'$&40"&0,

however, it is produced by subaltern peoples on the periphery or the margin of the

,#"#+%'" 4%tuation. Thus, the margins of empire are now writing back %+ '+ #01$&31

attempt to correct the Western canon and its versions of truth (Gugelberger and

=1'$+< YK@

N+ ' 4%.%"'$ 01%+F T".#4 #DD1$4 *>%4 4*'*1.1+*M G>1 "09*55) $*'$&40"&0, #$

,3.1+*'$< +#01"F '+& #*>1$ +#+*$'&%*%#+'" D#$.4 *>'* >'01 43$D',1& '4 ' $143"* #D

$110'"3'*%#+ #D "%*1$'$< ,#+01+*%#+4 >'01 #/1+1& "%*1$'$< /'$*%,%/'*%#+ *# *>1 E$1'*

.'4414 #D *>1 %""%*1$'*1 '+& 41.%"%*1$'*1 /1#/"14 #D *>1 $1E%#+ '+& /1$.%**1& #*>1$

D1.'"1 0#%,14 repressed, ignored, and forgotten for centuries to be heard (Olmos:Y`K@ a>'* %4 4# I1< *# $*'$&40"&0'4 $14%4*'+,1 +'$$'*%01 %4 *>'* %* $110'"3'*1

*>1 *'* %4 '0 1+,#./'44%+E *>'* %* %4

'".#4* 3+C%1"&'01 *>1 /#C1$ #D *>1 C$%**1+ C#$&@


11/18

!"#$%&' )*"'+*%, -#./'$'*%01 2*3&%14 5#3$+'" 6olume 12 2010789::

$#

T+1 D'3"* #D $*'$&40"&0, /1$>'/4F %4 *>'* %* %4 +#* D'$ 1+#3E> D$#. "%*1$'$1E1.#+%, "%*1$'$< &%4,#3$41@ N+ >1$ 144'%D*%+E ,#+*1O*4 *>'* .'I1 %*4 $1,1/*%#+ 14/1,%'""%. *#@ !#$ *>%4F >1 C'4 L$3*'""< *#$*3$1& 3+*%" >1 C'4

3+$1,#E+%H'L"1U D3$*>1$.#$1F *>1 '$.< .'&1 *>1 0%""'E1$4 C'*,> '4 *>1< L3$+1&

1',> 0%,*%. '"%01@ G>%4 %+D#$.'*%#+ C#3"& >'01 L11+ 1+#3E> *# %+,%*1 '+

%+*1$+'*%#+'" 3/$#'$F L3* ?1+,>R *'I14 >1$ +'$$'*%01 *# '+ %&1#"#E%,'" "101" '4 C1""M

[] they were Indians, our L$#*>1$4@ )+& C>'* %+I %4 *>'*

N+&%'+4 '$1 '"$1'&< L1%+E I%""1& #DD L< .'"+3*$%*%#+F '+& C>1+ #3$

/'$1+*4 ,'+ >'$&"< E%01 34 1+#3E> *# "%01 #+F '+& .'I1 4',$%D%,14 4#

*>'* C1 ,'+ E$#C 3/F *>1+ *>1< L3$+ 34 '"%01 "%I1 *>'*@ 2'0'E1"'* C'4 /$1,%41"< *>1 .#.1+* D#$ .1F

personally, when I finally felt firmly convinced that if its a sin to kill a

>3.'+ L1%+EF >#C ,'+ C>'* *>1 $1E%.1 *# 34 +#* L1 ' 4%+g

V?1+,>R :X9K

N+ *>%4 #+1F /#%E+'+* /'$'E$'/>F ?1+,>R &14,$%L14 '"" #D *>1 #//$144%#+4 >1$ /1#/"1

D',1 C>%"1 '"4# *'I%+E the word savage and using it against>1$ #//$144#$4@ 2>1

&1,"'$14 *>'* %* %4 +#* %+&%E1+#34 S3'*1.'"'+4F L3* *>1 S3'*1.'"'+ E#01$+.1+*F

C># '$1 *$3"< 4'0'E1F '+& 4>1 4#3+&"< ,#+0%,*4 *>%4 4'.1 E#01$+.1+* #D %*4 4%+4@

In this way, Mench acts as an active agent of a transformative cultural and politicalproject (Beverly 93).

;(%).)*$% ;2)-(+"2K6*.)F)-.1 6%)*)$ ;$2.+(C

)4 %+ !, >&;0:*+$) ?*".%@, /'$* #D *>e significance of Partnoys C%* D&$$5*

H.%005 $14%&14 %+ *>1 D',*4 '+& 0%0%& .1.#$%14 4>1 /$#0%&14 '4 10%&1+,1 #D *>1


13/18

!"#$%&' )*"'+*%, -#./'$'*%01 2*3&%14 5#3$+'" 6olume 12 2010789::

$$

atrocities. Mary Jane Treacy, author of Double Binds: Latin American Womens

J$%4#+ ?1.#$%1s, abets this point, writing:

[0%&1+,1 %4 I11 +'$$'*#$4 e#D /$%4#+ .1.#%$4] /$#0%&1 +'.14

#D E3'$&4 '+& /$%4#+1$4F ,#/%14 #D *>1%$ "1**1$4F ,3.1+*4 D$#. c'%"F

101+ >'+& .'&1 .'/4 #D .'I14>%D* c'%"4 *>'* C1$1 +#* 43//#41& *#

1O%4* %+ *>1%$ 4#,%1*%14@ G>1%$ .1.#%$4 *>34 L"3$ *>1 L#3+&'$%14

L1*C11+ D%,*%#+ '+& +#+D%,*%#+F '3*#L%#E$'/>< '+& $1/#$*F '4 %+ *>1

case of Partnoys stories that later reemerge in the testimony she

C#3"& E%01 *# *>1 )$E1+*%+1 Z'*%#+'" -#..%44%#+ #+ *>1

\%4'//1'$'+,1 #D J1$4#+4 c34* ' D1C 1$ L##IF J)" D&$*+)$/+* M+040$* R/'$&.*S= C+)/4) G)++)$&9* )"- H0.&)5 N.$&0" &"

D)$&" N4*+&.)" C*'$&40"&0@ 2>1 '$E314 *>'*F L< C$%*%+E *$'&%*%#+'" D',*4 L3* '"4#

providing other information and memories, Partnoy explicitly contests official

01$4%#+4 of history (Nance 31). To give one example#D *>%4F J'$*+oy recounts the

fate of friends whom newspaper accounts described as killed in confrontations with

the police, but who were in reality drugged and taken from the prison to the site of

the alleged confrontation (Nance 32). Here, Partnoy pits her $*'$&40"&0 'E'%+4*

official history, '+& C%+4@ h1$ 4*#$< %4F D3$*>1$.#$1F /$##D *>'* +#* '"" E31$%""'4F

',*%0%4*4F '+& $10#"3*%#+'$%14 '$1 .1+@ TD*1+F *>1 4*#$%14 #D $10#"3*%#+'$%14 '$1either gender neutral or overtly masculine, and [t]his removal of gen&1$ D$#. '""

$1D1$1+,14 *# /$%4#+1$4 #L4,3$14 *>1 +3.L1$ #D C#.1+ /'$*%,%/'*%+E %+ /#"%*%,'"

activities of all sorts, including female members of guerilla groups (Treacy 130).

J'$*+#%4 4*1$1#*1$ 4*#$< '4 ' /#"%*%,'" ',*%0%4*F '

C#.'+F ' .#*>1$F '+& ' C%D1 %+ *>'* #$&1$@


14/18

!"#$%&' )*"'+*%, -#./'$'*%01 2*3&%14 5#3$+'" 6olume 12 2010789::

$%

;$.2)$2*9C !2(# 6%% H),"-1 E)(*(+,$ L"%%)

Bellis C%* !"%):&$*- E04)"V#$ D) 4/Q*+ %):&$)-)P &1/'$*4 D$#. *$'&%*%#+'"

$*'$&40"&0in that it focuses mainly on one womans life and the discriminatio+ 4>1

D',14 '4 ' "%L1$'" '+& '4 ' C#.'+@ ;1""% >1$41"D ,'.1 3/ 'E'%+4* *>%4 L"1

.'$E%+'"%H'*%#+ '4 ' D1.'"1 .1.L1$ #D *>1 Z'*%#+'" B%L1$'*%#+ J'$*< %+ Z','$'$E3'@

N+ C$%*%+E C%* !"%):&$*- E04)", *>1+F 4>1 *$'+4D1$4 >1$ 1O/1$%1+,1 #+*# *>1 .'%+

,>'$',*1$F B'0%+%'F %+

#$&1$ *# *1"" >1$ 4*#$1"& 4#,%1*'" '443./*%#+4 'L#3*

gender and class (Craft 181). ;1""% %4 *>1$1D#$1 +#* c34* D%E>*%+E 'E'%+4* *>1

E#01$+.1+*F L3* 'E'%+4* /'*$%'$,>< %+ '"" #D %*4 .'+%D14*'*%#+4F %+,"3&%+E *>1

Z'*%#+'" B%L1$'*%#+ J'$*< %*41"D@

)* *>1 L1E%++%+E #D *>1 +#01"F B'0'+%' %4 D%$4* %+*$#&3,1& *# $10#"3*%#+ L< >1$

"#01$F !1"%/1@ h1 %+0#"014 >1$ %+ >%4 4*$3EE"14F L3* #+"< *# ' /#%+*@ a>1+ 4>1 C%4>14

*# c#%+ *>1 $1L1" /'$*< >1$41"DF >1 #3*$%E>* $1D3414F ,"'%.%+EF i#3 '$1 *>1 4>#$1 #D .'s sought to further recognize womens testimonial literature as

'+ 1./#C1$%+E '+& /#C1$D3"F D1.%+%+1 '+& D1.%+%4*F .#&1 #D $14%4*'+,1 'E'%+4*

/'*$%'$,>'01 &%4,3441& *>$11 *14*%.#+%'" *1O*4 C>%,> *$3"< 1O1./"%D< *>1

$10#"3*%#+'$< +'*3$1 #D $*'$&40"&0M !, >&;0:*+$) ?*".%@,C>%,> &1+#3+,14 .%"%*'$'01 %+

,#..#+ %4 *>'* *>1< '**',I /'*$%'$,>< %+ '"" #D %*4 D#$.4F E%0%+E 0#%,1 *# *>1

#*>1$C%41 0#%,1"144@ As Olmos argues, Clearly, much still rem'%+4 *# L1 +1 %D C1

'$1 *# '//$1,%'*1 *>1 /$#D#3+& 0'"31 #D *>%4 "%*1$'*3$1 D#$ %+&%0%&3'" C#.1+ '+&

.1+F '+&F .#$1 4%E+%D%,'+*"%4 144'< %4 c34* #+1 '**1./* *# appreciate the

profound value of $*'$&40"&0'+& %*4 C#.1+ C$%*1$4@


16/18

!"#$%&' )*"'+*%, -#./'$'*%01 2*3&%14 5#3$+'" 6olume 12 2010789::

$'

a#$I4 -%*1&

Alvarez, Julia. Lesson in Survival. C%* D&$$5* H.%005= C)5*' 08 T&')((*)+)".* )"-

H/+9&9)5@ 2'+ !$'+,%4,#M ?%&+%E>* [&%*%#+4F :WX^@

;1""%F S%#,#+&'@ C%* !"%):&$*- E04)"%+EF 899Y@

?1+,>RF Q%E#L1$*'@ !, >&;0:*+$) ?*".%@= N" !"-&)" E04)" &" A/)$*4)5)< B#++M

61$4#F :WXY@

Z'+,1F =%.L1$"< )@ J)" D&$*+)$/+* M+040$* R/'$&.*S= C+)/4) G)++)$&9* )"- H0.&)5N.$&0" &" D)$&" N4*+&.)" C*'$&40"&0@ Z'4>0%""1M 6'+&1$L%"* f+%01$4%*< J$144F

899^@

Olmos, Margarite Fernndez. Womens Writing in Latin America: Critical Trends

'nd Priorities. H*)+.%&"; E04*" &" D)$&" N4*+&.) )"- $%* J)+&::*)"< [&4@

[&+' ),#4*'7;1"j+ '+& ->$%4*%+1 [@ ;#41@ TOD#$&M a14*0%1C J$144F :WW`@


17/18

!"#$%&' )*"'+*%, -#./'$'*%01 2*3&%14 5#3$+'" 6olume 12 2010789::

$(

J'$*+#*'&'$)".*< B#++M d1& ;##I4F :WWk@

d%..1$.'+F ?'$,@ D&$*+)$/+* )"- >*'&'$)".* &" A/)$*4)5)= C*6$/)5 ?0-*' )"-

J/5$/+)5 M05&$&.' 8+04 I5 HU"0+ M+*'&-*"$* $0 >&;0:*+$) ?*".%@< V05/4* C10=

C*'$&40"&0 )"- J/5$/+)5 M05&$&.'1+4M T>%# f+%01$4%*< -1+*1$ D#$

N+*1$+'*%#+'" 2*3&%14F :WWk@


18/18

!"#$%&' )*"'+*%, -#./'$'*%01 2*3&%14 5#3$+'" 6olume 12 2010789::

$)

testimonioresistance.pdf

Documents

Transcript of testimonioresistance.pdf