A prosa em 3ª pessoa dos intelectuais presos, torturados, exilados
The wave of memoirs and historiographical revision of the past decade, which had the National Truth Commission as one of its centers, followed, in general terms, the intellectual thirst for memory sources, a characteristic feature of national concerns and the search for historical reparation since t...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2023 |
| País: | Brasil |
| Institución: | Universidade Federal do Rio Grande do Sul (UFRGS) |
| Repositorio: | Anos 90 (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:seer.ufrgs.br:article/129635 |
| Acceso en línea: | https://seer.ufrgs.br/index.php/anos90/article/view/129635 |
| Access Level: | acceso abierto |
| Palabra clave: | history memory testimony dictatorship revisionism história memória testemunho ditadura revisionismo |
| Sumario: | The wave of memoirs and historiographical revision of the past decade, which had the National Truth Commission as one of its centers, followed, in general terms, the intellectual thirst for memory sources, a characteristic feature of national concerns and the search for historical reparation since the post-World War II period. War. Beatriz Sarlo points out that political prisoners at the time of dictatorships in South America also expressed themselves in the 3rd person, thus dispensing with the authority that testimonial prose came to have. Even more, by not placing the non-personal account as the reference for the elaboration and fixation of memories, the studies of intellectuals persecuted by exceptional governments help to clarify the dynamics of the life they had, their biographical traits, despite not referring to themselves in these places. Rescuing the life and political and intellectual positioning of a Brazilian character like Ruy Mauro Marini is linked to a work of memory and a historiographical review, in clear contrast to the winners of history, that is, CEBRAP by Fernando Henrique Cardoso and, not least important, Roberto Schwarz. |
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