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class="user-summary-cta-container"><div class="user-summary-container"><div class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" alt="Liliana Chávez Díaz" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/35326658/19097898/19525466/s200_liliana.ch_vez_d.jpg" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">Liliana Chávez Díaz</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://st-andrews.academia.edu/">University of St Andrews</a>, <a class="u-tcGrayDarker" href="https://st-andrews.academia.edu/Departments/Modern_Languages/Documents">Modern Languages</a>, <span class="u-tcGrayDarker">Faculty Member</span></div><div><a class="u-tcGrayDarker" href="https://cambridge.academia.edu/">University of Cambridge</a>, <a class="u-tcGrayDarker" href="https://cambridge.academia.edu/Departments/Faculty_of_Modern_and_Medieval_Languages_Department_of_Spanish_Portuguese_/Documents">Faculty of Modern and Medieval Languages (Department of Spanish & Portuguese)</a>, <span class="u-tcGrayDarker">Graduate Student</span></div></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" data-click-track="profile-user-info-follow-button" data-follow-user-fname="Liliana" data-follow-user-id="35326658" data-follow-user-source="profile_button" data-has-google="false"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">add</span>Follow</button><button class="ds2-5-button hidden profile-cta-button grow js-profile-unfollow-button" data-broccoli-component="user-info.unfollow-button" data-click-track="profile-user-info-unfollow-button" 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js-profile-about" style="margin: 0px;">Liliana Chávez Díaz is Lecturer in Latin American Studies at the University of St Andrews. She holds a PhD in Spanish from University of Cambridge and a Master’s in Latin American studies from Universidad Nacional Autónoma de México. Her academic work explores nonfiction, women’s writing and popular culture in contemporary Latin America. She has published articles about late-twentieth-century art in Argentina, documentary narrative and photography in contemporary Mexico, and the relationship between journalism and literature. She has been a journalist for over ten years, focusing on art, culture, and science.<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><p class="ds2-5-body-md-bold">Related Authors</p></div><ul class="suggested-user-card-list"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://kuleuven.academia.edu/NoelBSalazar"><img class="profile-avatar u-positionAbsolute" alt="Noel B. 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data-click-track="profile-user-info-primary-research-interest" data-has-card-for-ri-list="35326658">View All (16)</a></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="35326658" href="https://www.academia.edu/Documents/in/Latin_American_literature"><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://st-andrews.academia.edu/LilianaCh%C3%A1vezD%C3%ADaz","location":"/LilianaCh%C3%A1vezD%C3%ADaz","scheme":"https","host":"st-andrews.academia.edu","port":null,"pathname":"/LilianaCh%C3%A1vezD%C3%ADaz","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Latin American literature"]}" data-trace="false" 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data-dom-id="Pill-react-component-f4dc8716-17fe-493c-8adc-26c8d492f87d"></div> <div id="Pill-react-component-f4dc8716-17fe-493c-8adc-26c8d492f87d"></div> </a></div></div><div class="external-links-container"><ul class="profile-links new-profile js-UserInfo-social"><li class="profile-profiles js-social-profiles-container"><i class="fa fa-spin fa-spinner"></i></li></ul></div></div></div><div class="right-panel-container"><div class="user-content-wrapper"><div class="uploads-container" id="social-redesign-work-container"><div class="upload-header"><h2 class="ds2-5-heading-sans-serif-xs">Uploads</h2></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Liliana Chávez Díaz</h3></div><div class="js-work-strip profile--work_container" data-work-id="101742978"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/101742978/Collecting_VoicesAlma_Guillermoprieto_as_an_Interpreter_of_the_Latin_American_Other_"><img alt="Research paper thumbnail of Collecting VoicesAlma Guillermoprieto as an Interpreter of the Latin American “Other”" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/101742978/Collecting_VoicesAlma_Guillermoprieto_as_an_Interpreter_of_the_Latin_American_Other_">Collecting VoicesAlma Guillermoprieto as an Interpreter of the Latin American “Other”</a></div><div 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="84026007"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/84026007/Telling_Death_Stories_in_Mexican_New_Media"><img alt="Research paper thumbnail of Telling Death Stories in Mexican New Media" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/84026007/Telling_Death_Stories_in_Mexican_New_Media">Telling Death Stories in Mexican New Media</a></div><div class="wp-workCard_item"><span>Latin American Culture and the Limits of the Human</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The chapter focuses on collective digital projects representing real stories in Mexico, particula...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The chapter focuses on collective digital projects representing real stories in Mexico, particularly on 72 migrantes (2010) and Testigos presenciales (2014). It aims to demonstrate that new media narratives are alternative ways for truth-telling while dealing with a failed state and a censored press. Since 2006, when public policies against drug trafficking provoked the rise of violence in the country, there has been a boom of what Cristina Rivera Garza has called “necrowriting.” Moving beyond conventional testimonial accounts, these works use new communication technologies in response to experiences of horrorism. The chapter reflects on how the Mexican artistic community responds to this horror by telling what they call “death stories.” Following Rosi Braidotti’s theory of the posthuman, this chapter proposes that new media narratives expose an updated version of Walter Benjamin’s storyteller. Contemporary storytellers, it is argued, excavate life from the dead in their aim of rescuing lost identities. This process, however, cannot leave the storyteller intact. In the era of the eyewitness and the new forensic sensibility, testimonial narratives are no longer attached to a particular person or locality but rather can be found at the intersections of self, community, and geopolitical borders.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84026007"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84026007"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84026007; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); 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Vida...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">n one of the final scenes of Cristian Alarcón’s Cuando me muera quiero que me toquen cumbia. Vidas de pibes chorros (2003), the journalist is visiting Sabina, one of his sources, in a poor neighbourhood of Buenos Aires, when a shooting occurs. The male neighbours take their guns and run out to the streets, encouraged by the women to defend their villa. Crouching down behind the curtains, spying from the window, the journalist notices that, except for a child, he is the only one who remains in the house, “amariconadamente escondido” (112). There is a double notion of field in this image of the journalist at work. Alarcón’s selfrepresentation in this scene illustrates the medial position of the documentary author in two fields in which the other is encountered. First, there is the physical space of the encounter with the informant, whose background differs from that of the narrator. Alarcón marks this difference, and thus his outsider position, by representing a surprised narrator, hi...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1e30269b75e06ea256c9f12881016683" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89186136,"asset_id":84026005,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89186136/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84026005"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84026005"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84026005; 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El objetivo es analizar la naturaleza hibrida de la carta como genero que permite ensayar ideas y confesar o revelar afectos durante procesos particulares de construccion de subjetividades femeninas. A diferencia de las cronicas de viajes tradicionales, se argumenta que los relatos de viaje transmitidos a traves del genero epistolar femenino dan cuenta del desplazamiento fisico y emocional, pero tambien del trabajo intelectual y creativo de las mujeres en circunstancias de (auto)censura o represion. Se concluye que para Castellanos tanto el viaje como la escritura son actos conscientes de libertad intelectual y de genero.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="70d3efe5f52b6f1575c25f45f0958a23" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89186150,"asset_id":84026003,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89186150/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84026003"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84026003"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84026003; 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</script> <div class="js-work-strip profile--work_container" data-work-id="84026001"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/84026001/Saltarse_el_programa_revoluci%C3%B3n_y_viaje_en_las_memorias_de_tres_autoras_latinoamericanas"><img alt="Research paper thumbnail of Saltarse el programa: revolución y viaje en las memorias de tres autoras latinoamericanas" class="work-thumbnail" src="https://attachments.academia-assets.com/89186134/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/84026001/Saltarse_el_programa_revoluci%C3%B3n_y_viaje_en_las_memorias_de_tres_autoras_latinoamericanas">Saltarse el programa: revolución y viaje en las memorias de tres autoras latinoamericanas</a></div><div class="wp-workCard_item"><span>Revista Valenciana. Estudios de filosofía y letras</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este artículo se reflexiona sobre las memorias escritas por autoras latinoamericanas y la narr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este artículo se reflexiona sobre las memorias escritas por autoras latinoamericanas y la narrativa de viajes contemporánea. Se inscribe en el debate en torno a la memoria y la literatura del yo en la literatura latinoamericana publicada a partir del 2000, a través del análisis de testimonios de viaje de mujeres escritos en primera persona en el contexto de las guerrillas y revoluciones de los años sesenta. El objetivo es identificar los usos particulares del lenguaje que las autoras latinoamericanas desarrollaron para autorrepresentarse mientras viajaban en un territorio aún en desarrollo y que enfrentaba grandes cambios sociales. El estudio se centra en El país bajo mi piel(2001), de Gioconda Belli; La Habana en un espejo(2004), de Alma Guillermoprieto y Viajes: De la Amazonía a las Malvinas (2014), de Beatriz Sarlo. Se propone aportar al conocimiento de la narrativa de no ficción latinoamericana y de autoras poco atendidas por la crítica literaria mediante el estudio de la lit...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6c6d2f5caaf39f6e654fecb90d589e23" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89186134,"asset_id":84026001,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89186134/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84026001"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84026001"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84026001; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="84026000"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/84026000/Compa%C3%B1eros_de_viaje_La_meta_no_ficci%C3%B3n_como_artificio_de_verosimilitud_en_historias_sobre_migraci%C3%B3n"><img alt="Research paper thumbnail of Compañeros de viaje: La meta(no)ficción como artificio de verosimilitud en historias sobre migración" class="work-thumbnail" src="https://attachments.academia-assets.com/89186141/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/84026000/Compa%C3%B1eros_de_viaje_La_meta_no_ficci%C3%B3n_como_artificio_de_verosimilitud_en_historias_sobre_migraci%C3%B3n">Compañeros de viaje: La meta(no)ficción como artificio de verosimilitud en historias sobre migración</a></div><div class="wp-workCard_item"><span>Literatura y Lingüística</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Este artículo aborda el uso de la metaficción en historias de no ficción contemporáneas que explo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Este artículo aborda el uso de la metaficción en historias de no ficción contemporáneas que exploran el tema del viaje y la migración desde una perspectiva latinoamericana. El estudio reflexiona especialmente en torno a la autorrepresentación del cronista y el espacio como una manera de identificar nuevas formas de encuentro con el otro en contextos de alta inestabilidad y violencia. Lo anterior se ejemplifica con el análisis de dos obras en formatos distintos: el libro Una luna. Diario de hiperviaje (2009), de Martín Caparrós y el texto de Óscar Martínez en el proyecto digital De migrantes a refugiados: el nuevo drama centroamericano (2017). A partir de un enfoque interdisciplinario que retoma teorías sobre intertextualidad y transmedialidad, se plantea una nueva lectura de la crónica latinoamericana del siglo XXI como un producto cultural colectivo y polifónico. </span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cb1ecac5958d7fa5531b2c19bf851c25" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89186141,"asset_id":84026000,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89186141/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84026000"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84026000"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84026000; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="84025999"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/84025999/Carlos_Mart%C3%ADnez_Rivas_Threnody_for_Joaqu%C3%ADn_Pasos_and_Other_Poems_translated_by_Roger_Hickin"><img alt="Research paper thumbnail of Carlos Martínez Rivas: Threnody for Joaquín Pasos and Other Poems, translated by Roger Hickin" class="work-thumbnail" src="https://attachments.academia-assets.com/89186151/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/84025999/Carlos_Mart%C3%ADnez_Rivas_Threnody_for_Joaqu%C3%ADn_Pasos_and_Other_Poems_translated_by_Roger_Hickin">Carlos Martínez Rivas: Threnody for Joaquín Pasos and Other Poems, translated by Roger Hickin</a></div><div class="wp-workCard_item"><span>Translation and Literature</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">of the methodology making this monograph rather uneven in structural terms. Over-inclusiveness in...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">of the methodology making this monograph rather uneven in structural terms. Over-inclusiveness in the multi-part Sonderkommando chapter has been noted. In several chapters, the discussion moves too swiftly from a passage in an individual witness account to observations on the structural and paratextual composition of the whole memoir (The Black Book, The Death Factory). Often it does not establish clear links between close-up linguistic analyses and the broader cultural phenomena. The sheer wealth of information on editions and textual variants, combined in discussions with their corresponding translations into as many as three target languages, makes for arduous reading, particularly in the Treblinka section. Yet Davies demonstrates very thorough research into the origins of his Holocaust witness texts and discourses, and the numerous vicissitudes these experience in translation, as they traverse the thresholds of genre and form, ethics and aesthetics, politics and history, censorship and liberty, ethnicity and identity, language and memory, and certainly, translator agency.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="868f97c8faae51184e2927cafde1a022" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89186151,"asset_id":84025999,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89186151/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84025999"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84025999"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84025999; 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Miradas a la narrativa reciente en América Latina</a></div><div class="wp-workCard_item"><span>Lingüística y Literatura</span><span>, 2018</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="86821917064070fba8ca6cb340018ace" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89186138,"asset_id":84026010,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89186138/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84026010"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84026010"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84026010; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=84026010]").text(description); $(".js-view-count[data-work-id=84026010]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 84026010; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='84026010']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "86821917064070fba8ca6cb340018ace" } } $('.js-work-strip[data-work-id=84026010]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":84026010,"title":"Sánchez Becerril, Ivonne y Alexandra Saavedra (coords.) 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="84026009"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/84026009/Rosario_Castellanos_intelectual_mexicana_by_Claudia_Maribel_Dom%C3%ADnguez_Miranda"><img alt="Research paper thumbnail of Rosario Castellanos, intelectual mexicana by Claudia Maribel Domínguez Miranda" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/84026009/Rosario_Castellanos_intelectual_mexicana_by_Claudia_Maribel_Dom%C3%ADnguez_Miranda">Rosario Castellanos, intelectual mexicana by Claudia Maribel Domínguez Miranda</a></div><div class="wp-workCard_item"><span>Hispania</span><span>, 2021</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84026009"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84026009"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84026009; 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This material can be accessed ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The open access version of this thesis contains redacted material. This material can be accessed by request and it is published in the print version of the thesis at the University Library.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5dc3b1c6cf2985494db244ee6c30f6d6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89186140,"asset_id":84026008,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89186140/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84026008"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84026008"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84026008; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="84026007"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/84026007/Telling_Death_Stories_in_Mexican_New_Media"><img alt="Research paper thumbnail of Telling Death Stories in Mexican New Media" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/84026007/Telling_Death_Stories_in_Mexican_New_Media">Telling Death Stories in Mexican New Media</a></div><div class="wp-workCard_item"><span>Latin American Culture and the Limits of the Human</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The chapter focuses on collective digital projects representing real stories in Mexico, particula...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The chapter focuses on collective digital projects representing real stories in Mexico, particularly on 72 migrantes (2010) and Testigos presenciales (2014). It aims to demonstrate that new media narratives are alternative ways for truth-telling while dealing with a failed state and a censored press. Since 2006, when public policies against drug trafficking provoked the rise of violence in the country, there has been a boom of what Cristina Rivera Garza has called “necrowriting.” Moving beyond conventional testimonial accounts, these works use new communication technologies in response to experiences of horrorism. The chapter reflects on how the Mexican artistic community responds to this horror by telling what they call “death stories.” Following Rosi Braidotti’s theory of the posthuman, this chapter proposes that new media narratives expose an updated version of Walter Benjamin’s storyteller. Contemporary storytellers, it is argued, excavate life from the dead in their aim of rescuing lost identities. This process, however, cannot leave the storyteller intact. In the era of the eyewitness and the new forensic sensibility, testimonial narratives are no longer attached to a particular person or locality but rather can be found at the intersections of self, community, and geopolitical borders.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84026007"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84026007"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84026007; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); 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Vida...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">n one of the final scenes of Cristian Alarcón’s Cuando me muera quiero que me toquen cumbia. Vidas de pibes chorros (2003), the journalist is visiting Sabina, one of his sources, in a poor neighbourhood of Buenos Aires, when a shooting occurs. The male neighbours take their guns and run out to the streets, encouraged by the women to defend their villa. Crouching down behind the curtains, spying from the window, the journalist notices that, except for a child, he is the only one who remains in the house, “amariconadamente escondido” (112). There is a double notion of field in this image of the journalist at work. Alarcón’s selfrepresentation in this scene illustrates the medial position of the documentary author in two fields in which the other is encountered. First, there is the physical space of the encounter with the informant, whose background differs from that of the narrator. Alarcón marks this difference, and thus his outsider position, by representing a surprised narrator, hi...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1e30269b75e06ea256c9f12881016683" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89186136,"asset_id":84026005,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89186136/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84026005"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84026005"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84026005; 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El objetivo es analizar la naturaleza hibrida de la carta como genero que permite ensayar ideas y confesar o revelar afectos durante procesos particulares de construccion de subjetividades femeninas. A diferencia de las cronicas de viajes tradicionales, se argumenta que los relatos de viaje transmitidos a traves del genero epistolar femenino dan cuenta del desplazamiento fisico y emocional, pero tambien del trabajo intelectual y creativo de las mujeres en circunstancias de (auto)censura o represion. Se concluye que para Castellanos tanto el viaje como la escritura son actos conscientes de libertad intelectual y de genero.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="70d3efe5f52b6f1575c25f45f0958a23" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89186150,"asset_id":84026003,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89186150/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84026003"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84026003"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84026003; 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</script> <div class="js-work-strip profile--work_container" data-work-id="84026001"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/84026001/Saltarse_el_programa_revoluci%C3%B3n_y_viaje_en_las_memorias_de_tres_autoras_latinoamericanas"><img alt="Research paper thumbnail of Saltarse el programa: revolución y viaje en las memorias de tres autoras latinoamericanas" class="work-thumbnail" src="https://attachments.academia-assets.com/89186134/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/84026001/Saltarse_el_programa_revoluci%C3%B3n_y_viaje_en_las_memorias_de_tres_autoras_latinoamericanas">Saltarse el programa: revolución y viaje en las memorias de tres autoras latinoamericanas</a></div><div class="wp-workCard_item"><span>Revista Valenciana. Estudios de filosofía y letras</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este artículo se reflexiona sobre las memorias escritas por autoras latinoamericanas y la narr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este artículo se reflexiona sobre las memorias escritas por autoras latinoamericanas y la narrativa de viajes contemporánea. Se inscribe en el debate en torno a la memoria y la literatura del yo en la literatura latinoamericana publicada a partir del 2000, a través del análisis de testimonios de viaje de mujeres escritos en primera persona en el contexto de las guerrillas y revoluciones de los años sesenta. El objetivo es identificar los usos particulares del lenguaje que las autoras latinoamericanas desarrollaron para autorrepresentarse mientras viajaban en un territorio aún en desarrollo y que enfrentaba grandes cambios sociales. El estudio se centra en El país bajo mi piel(2001), de Gioconda Belli; La Habana en un espejo(2004), de Alma Guillermoprieto y Viajes: De la Amazonía a las Malvinas (2014), de Beatriz Sarlo. Se propone aportar al conocimiento de la narrativa de no ficción latinoamericana y de autoras poco atendidas por la crítica literaria mediante el estudio de la lit...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6c6d2f5caaf39f6e654fecb90d589e23" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89186134,"asset_id":84026001,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89186134/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84026001"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84026001"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84026001; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="84026000"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/84026000/Compa%C3%B1eros_de_viaje_La_meta_no_ficci%C3%B3n_como_artificio_de_verosimilitud_en_historias_sobre_migraci%C3%B3n"><img alt="Research paper thumbnail of Compañeros de viaje: La meta(no)ficción como artificio de verosimilitud en historias sobre migración" class="work-thumbnail" src="https://attachments.academia-assets.com/89186141/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/84026000/Compa%C3%B1eros_de_viaje_La_meta_no_ficci%C3%B3n_como_artificio_de_verosimilitud_en_historias_sobre_migraci%C3%B3n">Compañeros de viaje: La meta(no)ficción como artificio de verosimilitud en historias sobre migración</a></div><div class="wp-workCard_item"><span>Literatura y Lingüística</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Este artículo aborda el uso de la metaficción en historias de no ficción contemporáneas que explo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Este artículo aborda el uso de la metaficción en historias de no ficción contemporáneas que exploran el tema del viaje y la migración desde una perspectiva latinoamericana. El estudio reflexiona especialmente en torno a la autorrepresentación del cronista y el espacio como una manera de identificar nuevas formas de encuentro con el otro en contextos de alta inestabilidad y violencia. Lo anterior se ejemplifica con el análisis de dos obras en formatos distintos: el libro Una luna. Diario de hiperviaje (2009), de Martín Caparrós y el texto de Óscar Martínez en el proyecto digital De migrantes a refugiados: el nuevo drama centroamericano (2017). A partir de un enfoque interdisciplinario que retoma teorías sobre intertextualidad y transmedialidad, se plantea una nueva lectura de la crónica latinoamericana del siglo XXI como un producto cultural colectivo y polifónico. </span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cb1ecac5958d7fa5531b2c19bf851c25" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89186141,"asset_id":84026000,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89186141/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84026000"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84026000"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84026000; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="84025999"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/84025999/Carlos_Mart%C3%ADnez_Rivas_Threnody_for_Joaqu%C3%ADn_Pasos_and_Other_Poems_translated_by_Roger_Hickin"><img alt="Research paper thumbnail of Carlos Martínez Rivas: Threnody for Joaquín Pasos and Other Poems, translated by Roger Hickin" class="work-thumbnail" src="https://attachments.academia-assets.com/89186151/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/84025999/Carlos_Mart%C3%ADnez_Rivas_Threnody_for_Joaqu%C3%ADn_Pasos_and_Other_Poems_translated_by_Roger_Hickin">Carlos Martínez Rivas: Threnody for Joaquín Pasos and Other Poems, translated by Roger Hickin</a></div><div class="wp-workCard_item"><span>Translation and Literature</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">of the methodology making this monograph rather uneven in structural terms. Over-inclusiveness in...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">of the methodology making this monograph rather uneven in structural terms. Over-inclusiveness in the multi-part Sonderkommando chapter has been noted. In several chapters, the discussion moves too swiftly from a passage in an individual witness account to observations on the structural and paratextual composition of the whole memoir (The Black Book, The Death Factory). Often it does not establish clear links between close-up linguistic analyses and the broader cultural phenomena. The sheer wealth of information on editions and textual variants, combined in discussions with their corresponding translations into as many as three target languages, makes for arduous reading, particularly in the Treblinka section. Yet Davies demonstrates very thorough research into the origins of his Holocaust witness texts and discourses, and the numerous vicissitudes these experience in translation, as they traverse the thresholds of genre and form, ethics and aesthetics, politics and history, censorship and liberty, ethnicity and identity, language and memory, and certainly, translator agency.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="868f97c8faae51184e2927cafde1a022" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89186151,"asset_id":84025999,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89186151/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84025999"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84025999"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84025999; 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</script> <div class="js-work-strip profile--work_container" data-work-id="84025997"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/84025997/Recordar_registrar_y_reescribir"><img alt="Research paper thumbnail of Recordar, registrar y reescribir" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/84025997/Recordar_registrar_y_reescribir">Recordar, registrar y reescribir</a></div><div class="wp-workCard_item"><span>América</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La pasion segun Trelew (1973) de Tomas Eloy Martinez forma parte de la historia de censura durant...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La pasion segun Trelew (1973) de Tomas Eloy Martinez forma parte de la historia de censura durante las dictaduras en America Latina y representa un modelo de cronica que continua ejerciendo influencia en el periodismo latinoamericano. El objetivo de esta ponencia es evidenciar los mecanismos discursivos que permiten trascender el papel de la entrevista periodistica como mera tecnica de investigacion y considerarla un recurso de credibilidad mediante el cual se representa y legitima el testimonio tanto del informante como del autor. 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