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Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study focuses on the four books of memoirs by Esther Tusquets: Confesiones de una editora poco mentirosa (2005), Habíamos ganado la guerra (2007), Confesiones de una vieja dama indigna (2009), and Tiempos que fueron (2012). The initial premise of this research posits that, in recounting her personal experience, the author not only reveals intimate aspects of herself but also constructs a cultural narrative. To unravel the complexity inherent in this duality, three areas fundamental to autobiographical writing are explored: the configuration of identity through the narrative dimension of the text, the fictionality intrinsic to the genre, and the underlying testimonial intention of the author. The analysis shows that, although Tusquets writes these memoirs from a deeply subjective perspective, by contextualising them within a range of geographical, social, cultural, and political circumstances, she produces a dual cultural narative. Thus in the course of documenting the construction of Lumen’s catalogue through a series of definitive milestones, she also furnishes a valuable testimony to what the publishing field in Spain was like between the late Franco era and the 1990s when the great international conglomerates began to erect insurmountable barriers to the work of independent publishers. [ABSTRACT FROM AUTHOR]

This article analyses how the Supreme Court case law has been addressing the issue of when a defendant's testimony should happen at trial, with a special focus on the decisions handed down in 2023. It also proposes ways to resolve this issue in the future. [ABSTRACT FROM AUTHOR]

Copyright of Anales del Seminario de Historia de la Filosofía is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article investigates the emotional and psychosocial scope behind the writing of Cautiverio feliz by Francisco Núñez de Pineda y Bascuñán, proposing that leaving his personal experience in writing and offering it as a paradigm of the "ideal" servant to the interests of the Crown was a way of coming to terms with himself and resolving his vital contradiction. An upright and exemplary man, he had a suffered in life, and according to his subjective vision, his suffering totally undeserved. In this sense, his writing practice might have given him some comfort in conceiving it and projecting it as a symbolic resolution of this paradox, and thus somewhat appeasing his bitterness, freeing him from the deep discomfort that was eating away at his spirit from the frustration and anger that he felt for not being all that he thought he could have been and deserved to be. [ABSTRACT FROM AUTHOR]

The objective of this article is to analyze how the experiences of girls, boys, and adolescents in the context of the Colombian war have been received and incorporated into the institutional work of memory construction. The analysis is based on a review of reports produced by the Historical Memory Group of the National Commission for Reparation and Reconciliation and the National Center for Historical Memory. The article begins by highlighting the inadequacy of articulated language in capturing the childhood and youth experiences of violence. It then examines how the testimonies of children and adolescents have been included in institutional memory reports to determine the validity attributed to the knowledge these testimonies can provide. Finally, the article concludes that the experiences of suffering in childhood and adolescence are not adequately addressed in institutional memory work, and there is a form of epistemic injustice that diminishes the importance and centrality of these testimonies as sources of knowledge about recent Colombian violence. [ABSTRACT FROM AUTHOR]

Social Sciences have been interested in biographical studies since the 1920s. However, this way of observing and analyzing social phenomena was displaced, between the World War II and the 1980s, from the methodological scene. According to Daniel Bertaux, the oblivion in which the biographical method fell in that period is attributable to a double imperialism: the one of the structural-functionalism and the one of survey research. During the 1980s there was a new appearance of the biographical method within the social sciences that progressively derived in the consolidation of an academic field in which take part multiple disciplines (history, sociology, anthropology, literary studies, among others). The biographical studies field is characterized for the existence and, in the last years, proliferation of empirical research that relate theoretical elements that belong to different fields of knowledge. In this article, I present some reflections on the use of the biographical method within the social sciences. First of all, I make a brief historical review of the method origins, its disappearance from the methodological scene, its resurgence and, finally, its actual relevance. Then, I mention the main biographical research styles, according to the typology made by Ernesto Meccia (2019a). In third place, I highlight the differences between two terms that, within the biographical method field, are used frequently as synonyms: life history and life story. After that, I reflect on the truth status of the testimonies. In general terms, I conceive testimonies as tools for identity (re) construction and not only as factual accounts limited to an informative function. Then, I specify the way in which life stories assume a certain plot, an arrangement that is given by the biographical events or turning points. Finally, I show how life stories can express different social issues and problems that go beyond the biography itself. [ABSTRACT FROM AUTHOR]

Copyright of Agora (0211-6642) is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Escritos is the property of Escritos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Escritos is the property of Escritos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Filosofía UCSC is the property of Francisco Novoa-Rojas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

During the Chilean social outburst, La Lira Colectiva was born, a periodical publication that circulated in flyleaf format, whose purpose was to record what was taking place in the country. Its name is due to the fact that its authors aimed to revitalize the Lira Popular, that is to say, the Chilean broadsheets that were printed between 1870 and 1940, approximately. Thus, La Lira Colectiva constitutes memory in two senses: on the one hand, it is part of the tradition of cordel literature, a phenomenon with late medieval roots; on the other hand, it aims to bear witness to political and social events from the point of view of popular subjects. Both aspects, of course, interconnected, since, in Chile, cordel literature was a means of popular expression with a strong political content. [ABSTRACT FROM AUTHOR]

Copyright of Estudios de Teoría Literaria is the property of Estudios de Teoria Literaria and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Psicoperspectivas is the property of Pontificia Universidad Catolica de Valparaiso, Escuela de Psicologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Imagofagia is the property of Imagofagia - AsAECA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article analyzes the novel La dimensión desconocida, by Chilean writer Nona Fernández, within the framework of the novels of memory about State violence that have been published between the last decade of the 20th and 21st centuries. It is proposed that the narrative poetics is organized around the imagination understood as a means to access understanding and provoke a reflective judgment in the reader. It is with a particular way of handling and thinking about imagination that the author takes a position both in relation to the theme she seeks to model and to the discourses and genres that account for the past. From this perspective, La dimensión desconocida stands apart from other poetics of memory and elaborates an ethics and a politics of literature that passes through the imagination. [ABSTRACT FROM AUTHOR]

This article develops Marcel's understanding of creative fidelity as a concrete testimony of hope. Hope allows us to recognize human life as a vocation to concrete commitment and interpersonal dedication, fully realized in consecration. In this way, the authentically creative dynamics underlying the deepest strata of the human person will be revealed, manifesting itself as an intimate ontological concern that guides and encourages us towards transcendence. [ABSTRACT FROM AUTHOR]

The objective of this work is to provide a general theoretical introduction to autofiction, tracking the history of the concept, its limits and variants, analyzing Mexican autofictions from the 20th and 21st centuries and explaining the most characteristic features of autofiction from a diachronic perspective. In addition to the above, we will make a theoretical-conceptual proposal on the importance of the study of autofiction as a significant part of contemporary literature and literary studies. We will try to answer: what is the relationship that autofiction mantains with literature or the testimony? Which ways are subjective, the "writings or literature of the self" and autofiction interrelated? What relationship do fiction and the creative imagination, with the autobiographical story and other types of referential discourse, as affirmations about the self and the world that surrounds us? [ABSTRACT FROM AUTHOR]

This article aims to analyze the texts narrated by indigenous people of the Amazonia during the first two decades of this century, as well as to examine what their sources haven been, what content they present and how their contribution has disseminated the knowledge of their people. Some of these narratives were considered autoethnography or autobiography, testimony, and even critical testimony, but all of them point at being ethnohistorical texts. They have been written by authors of Cavineña (Bolivia), Shawi, and Harakbut (Peru) origins. [ABSTRACT FROM AUTHOR]

Copyright of Nueva Revista del Pacífico is the property of Universidad de Playa Ancha de Ciencias de la Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of this article is to analyze the function of testimony in the short stories and journalistic articles of Argentine writer Haroldo Conti (1925-1976), who described his literature as "an obsessive fight against time". This fight appears in his writings as the rescuing of everything at risk of being forgotten. Thus, the testimony of experience assumes a key function to understand articles published in Revista Crisis. The creation of a textual materiality from the perspective of memory provides a complex space for the interaction of discursive strategies within fiction, journalism and political analysis. [ABSTRACT FROM AUTHOR]

Copyright of Estudios de Teoría Literaria is the property of Estudios de Teoria Literaria and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research article aims to study the influence and changes that information and communications technologies (ICT) have generated in the judicial process regarding the correction of the claim and testimonial evidence, as well as the effects of digital justice to hold judicial hearings in person or virtually studied in the constitutionality Statement C-134 of May 3, 2023 issued by the Constitutional Court of Colombia in which the constitutionality of the bill that modifies the law is reviewed statutory regulation of the administration of justice —Law 270 of 1996—. It is concluded that by applying technology and virtuality to the judicial process, the correction of the claim must be integrated into a single document and the testimonial evidence has been modified in the way in which the spontaneity of the witness is protected and the inconveniences of being ruled out due to inability when the witness has a relative inability to testify virtually. Likewise, the Constitutional Court's affinity for virtual hearings, whether or not they involve evidence, and the judge's determination to define the modality of the hearing, stand out. For its preparation, the dogmatic method of legal research has been used, which takes into account the legal provisions, doctrine and jurisprudence of the high courts in Colombia. [ABSTRACT FROM AUTHOR]

This paper approaches Rafael Alberti's work in exile from the perspective of testimony using the sources that have been theorizing about it since the nineties, such as Annette Wiewiorka (1998), among others. The aim is to give a new dimension to the reception of his work in the peninsula by reflecting, through the publication of Alberti in peninsular philological journals during the post-war period, on what place corresponds to him in the revisions of the historiographic literary panorama of that time. [ABSTRACT FROM AUTHOR]

Copyright of Caravelle: Cahiers du Monde Hispanique et Luso-Bresilien is the property of Presses Universitaires du Mirail and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of F@ro: Revista Teórica del Departamento de Ciencias de la Comunicación y de la Información is the property of Universidad de Playa Ancha de Ciencias de la Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Letras (Lima) is the property of Letras, Facultad de Letras y Ciencias Humanas. Universidad Nacional Mayor De San Marcos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos para Investigacion de la Literatura Hispanica is the property of Fundacion Universitaria Espanola and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anales de Literatura Hispanoamericana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Poligramas is the property of Universidad del Valle and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Electrónica de Psicología Iztacala is the property of Facultad de Estudios Superiores Iztacala and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of this article is to study how the documentary represented the deep economic crisis that began in 2008 in Spain. We propose to apply a methodology of filmic analysis that let us generate a new knowledge about this issue. We will study Edificio España (Víctor Moreno, 2012), Libre te quiero (Basilio Martín Patino, 2012), VidaExtra (Ramiro Ledo Cordeiro, 2013) and Informe General II (Pere Portabella, 2015). Between the first film and the last one there is the following evolution: antecedents, the testimony of the protest, the debate on the immediate events and the analysis elaborated from a larger reflective distance. [ABSTRACT FROM AUTHOR]

Copyright of Latin American Law Review is the property of Universidad de los Andes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this textual analysis, a dialogue is established with the Colombian literary tradition that germinated in the Caribbean. In addition, the particularities that the poetics of Leandro (2019) has are tracked and from there the historiographic relationships with the Colombian twentieth century are noted. Likewise, the founding history of vallenato as a musical genre is covered. The protagonists, their lyrics, their political commitments, and their landscapes will be studied from the writing of Alonso Sánchez Baute; which mixes journalism and fiction in search of a truthful pact with the reader. [ABSTRACT FROM AUTHOR]

Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Estudios de Filosofía is the property of Universidad de Antioquia, Instituto de Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Justicia (0124-7441) is the property of Universidad Simon Bolivar and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Escritos is the property of Escritos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Prohistoria is the property of Prohistoria Ediciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this paper is to make a critical analysis of the novel El olvido que seremos by Héctor Abad Faciolince. After its publication in 2006, this novel quickly became a bestseller of memory in Colombia for the testimonial value of the narration and for the editorial platform that supported it. However, a critical approximation shows that this novel is articulated like a classist, heteropatriarchal, and hegemonic representation of memory. In this sense, the purpose of this work is to analyze the textual and intertextual mechanisms that configure this memory modulation in order to open a discussion that allows not only to make visible more inclusive memories but also to avoid the institutionalization of some memories and the consequent invisibilization of diverse subjectivities and violence. [ABSTRACT FROM AUTHOR]

Copyright of Estudios Filosóficos is the property of Estudios Filosoficos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Question (1669-6581) is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Question (1669-6581) is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Retracing the cultural history of the reception of the TV series Holocaust (1978) as it redefined the politics of the State and put the testimony for the first time at the centre of the cultural field, undermining how the Jewish genocide was perceived until then, the article aims at discuss --by the contributions of Annette Wieviorka and Georges Didi-Huberman, among others-- through a comparison with the hbo series Chernobyl (2019) and other cinematographic productions, what audio-visual is capable of in front of different forms of State violence, of a traumatic past and of a threatened future. [ABSTRACT FROM AUTHOR]

The relationship between community and reparations is crucial to deal with violence. In this regard, to repair means to stabilize the social, moral, and political bonds that were damaged because of violence. Therefore, testimony is of great importance: it constitutes a biopolitical and institutional act to guarantee the rights to truth, justice, and reparations. However, concepts such as community, reparations and testimony have taken a new meaning in contemporary French philosophy, especially in the works of Emmanuel Lévinas, Maurice Blanchot y Jean-Luc Nancy. This new meaning rejects the sovereign and biopolitical community. Taking into account such a change of perspective, this paper examines, from a philosophical standpoint, the aforementioned concepts found in Nancy's, Blanchot's and Lévinas's studies on community, vulnerability, and metaphor. On that basis, the following thesis is sustained: the use of metaphors of damage in the testimonies of violence constitutes a speech of the irreparable (the wounded vulnerability) that reveals and creates an anarchic community. [ABSTRACT FROM AUTHOR]

In literary texts that present a poetic speaker whose psychic apparatus suffers; writing becomes the site for the oscillation between subjectivity and desubjectivity. This paper poses the question on how to approach texts rooted in the experience of psychic suffering in relation to the concepts of "testimony", "author" and "writing". The selected literary texts are a group of poems written by the Italian poet Alda Merini and 4.48 Psychosis, a play written by the English playwright Sarah Kane. In these texts, the poetic speaker experiences a desubjectivation produced by highly invasive psychiatric procedures. These texts account for this experience [Benjamin] and establish themselves as healthy practices [Deleuze]. By doing so, they do not function as instances of resubjectivation; instead, they retain the oscillation between resubjectivation and desubjectivation. [ABSTRACT FROM AUTHOR]