TY - BOOK ID - 14477753 TI - Playful Memories : The Autofictional Turn in Post-Dictatorship Argentina PY - 2016 SN - 3319409646 3319409638 PB - Cham : Springer International Publishing : Imprint: Palgrave Macmillan, DB - UniCat KW - Culture KW - Ethnology KW - Motion pictures, American. KW - Theater. KW - Historiography. KW - Literature KW - Fiction. KW - Cultural and Media Studies. KW - Latin American Culture. KW - Memory Studies. KW - Latin American Cinema. KW - Theatre and Performance Studies. KW - Literary Theory. KW - Study and teaching. KW - Latin America. KW - Philosophy. KW - Memories KW - Ethnology-Latin America. KW - Literature-Philosophy. KW - Latin American Cinema and TV. KW - Dramatics KW - Histrionics KW - Professional theater KW - Stage KW - Theatre KW - Performing arts KW - Acting KW - Actors KW - Fiction KW - Metafiction KW - Novellas (Short novels) KW - Novels KW - Stories KW - Novelists KW - American motion pictures KW - Moving-pictures, American KW - Foreign films KW - Historical criticism KW - History KW - Authorship KW - Philosophy KW - Criticism KW - Historiography KW - Ethnology—Latin America. KW - Literature—Philosophy. UR - https://www.unicat.be/uniCat?func=search&query=sysid:14477753 AB - This volume examines the blending of fact and fiction in a series of cultural artefacts by post-dictatorship writers and artists in Argentina, many of them children of disappeared or persecuted parents. Jordana Blejmar argues that these works, which emerged after the turn of the millennium, pay testament to a new cultural formation of memory characterised by the use of autofi ction and playful aesthetics. She focuses on a range of practitioners, including Laura Alcoba, Lola Arias, Félix Bruzzone, Albertina Carri, María Giuffra, Victoria Grigera Dupuy, Mariana Eva Perez, Lucila Quieto, and Ernesto Semán, who look towards each other’s works across boundaries of genre and register as part of the way they address the legacies of the 1976–1983 dictatorship. Approaching these texts not as second-hand or adoptive memories but as memories in their own right, Blejmar invites us to recognise the subversive power of self-figuration, play and humour when dealing with trauma. ER -