Dictatorship - Openness, censorship and intergenerational narrative in Argentine Children's and Young People's Literature
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Universidad Industrial de Santander
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En este trabajo, pondré de manifiesto tres momentos de la Literatura Infantil (LIJ) Argentina en relación a la última dictadura militar (1976-1983). A partir de los aportes de las investigaciones de Mariano Medina, Judith Gociol y Hernán Invernizzi, Gabriela Pesclevi y quien escribe, Ignacio L. Scerbo, se podrá observar una cadena dialógica dentro de la LIJ argentina vinculada al terrorismo de estado. Por consiguiente, el trabajo está estructurado de esta manera. Primer momento, antes de la dictadura (1969-1976): la construcción del campo de la LIJ argentina en ebullición con los aportes de Malicha Leguizamón y los seminarios en la Universidad Nacional de Córdoba. Época de nacimiento de los cuentos que luego la dictadura prohibirá. El cuento “Un garbanzo peligroso” y su respectiva canción de Laura Devetach hacen de metáfora y botón de muestra de la época. Segundo momento, durante la dictadura (1976-1983): el campo de la LIJ es observado por el ojo censor de la represión. Al plan sistemático de desaparición de personas le corresponde el proyecto de desaparición de símbolos, imágenes, productos de la cultura y el arte entendidos como ejercicio pleno de la libertad. El caso de “La torre de cubos” de Laura Devetach es analizado con detenimiento dadas las condiciones y los supuestos argumentos de su prohibición. Tercer momento, luego de la dictadura (1983-2021): en la reconstrucción democrática comienzan a escucharse voces destinadas a la infancia sobre lo sucedido durante la dictadura militar. Graciela Montes en la colección Entender y Participar y el libro “El golpe” funcionan como el puntapié del diálogo intergeneracional en torno al horror de la dictadura. A su vez, asoman cuentos como “Cementerio Clandestino” de Eduardo Gonzales, novelas como “El mar y la serpiente” de Paula Bombara y especialmente el libro “Quién soy” escrito e ilustrado por destacados artistas de la LIJ argentina. Con este recorrido, pretendo mostrar el devenir histórico de la LIJ y su relación con los trabajos de la memoria como espacio de lucha y como actualización del pasado destinado a la infancia.
In this work, I will highlight three moments of Children's and Young People's Literature (LIJ) in relation to the last military dictatorship (1976-1983). Based on the contributions of the investigations of Mariano Medina, Judith Gociol and Hernán Invernizzi, Gabriela Pesclevi and my own contributions, a dialogic chain within the Argentine LIJ related to state terrorism can be observed. Therefore, the work is structured as follows. First moment - Before the dictatorship (1969-1976): The construction of the emerging Argentine LIJ field with the contributions of Malicha Leguizamón and the seminars at the Universidad Nacional de Córdoba. This is the time of the rise of the stories that later the dictatorship will prohibit. The story "Un garbanzo peligroso" (“A Dangerous Chickpea”) and its respective song by Laura Devetach serve as a metaphor and a sample of that times. Second moment - During the dictatorship (1976-1983): The LIJ field is observed by the censoring eye of repression. The systematic plan for the disappearance of people goes hand in hand with the project for the disappearance of symbols, images, products of culture and art - understood as the full exercise of freedom. The case of “La torre de cubos” ("The Cube Tower") by Laura Devetach is carefully analyzed given the conditions and the alleged arguments for its prohibition. Third moment - After the dictatorship (1983-2021): In the democratic reconstruction, child-oriented voices about the events that occurred during the military dictatorship begin to be heard. Graciela Montes in the collection Entender y participar (Understand and Participate) and the book “El golpe” (“The Coup”) function as the kick-start of the intergenerational dialogue around the horror of the dictatorship. At the same time, there are stories such as “Cementerio clandestino” ("Clandestine Cemetery") by Eduardo Gonzales, novels such as “El mar y la serpiente” ("The Sea and the Serpent") by Paula Bombara and especially the book “Quién soy” ("Who am I?") written and illustrated by prominent artists from the Argentine LIJ. In this review, I intend to show the historical evolution of the LIJ and its relationship with the works about memory as a space of struggle and as a revision of the past destined for childhood.
In this work, I will highlight three moments of Children's and Young People's Literature (LIJ) in relation to the last military dictatorship (1976-1983). Based on the contributions of the investigations of Mariano Medina, Judith Gociol and Hernán Invernizzi, Gabriela Pesclevi and my own contributions, a dialogic chain within the Argentine LIJ related to state terrorism can be observed. Therefore, the work is structured as follows. First moment - Before the dictatorship (1969-1976): The construction of the emerging Argentine LIJ field with the contributions of Malicha Leguizamón and the seminars at the Universidad Nacional de Córdoba. This is the time of the rise of the stories that later the dictatorship will prohibit. The story "Un garbanzo peligroso" (“A Dangerous Chickpea”) and its respective song by Laura Devetach serve as a metaphor and a sample of that times. Second moment - During the dictatorship (1976-1983): The LIJ field is observed by the censoring eye of repression. The systematic plan for the disappearance of people goes hand in hand with the project for the disappearance of symbols, images, products of culture and art - understood as the full exercise of freedom. The case of “La torre de cubos” ("The Cube Tower") by Laura Devetach is carefully analyzed given the conditions and the alleged arguments for its prohibition. Third moment - After the dictatorship (1983-2021): In the democratic reconstruction, child-oriented voices about the events that occurred during the military dictatorship begin to be heard. Graciela Montes in the collection Entender y participar (Understand and Participate) and the book “El golpe” (“The Coup”) function as the kick-start of the intergenerational dialogue around the horror of the dictatorship. At the same time, there are stories such as “Cementerio clandestino” ("Clandestine Cemetery") by Eduardo Gonzales, novels such as “El mar y la serpiente” ("The Sea and the Serpent") by Paula Bombara and especially the book “Quién soy” ("Who am I?") written and illustrated by prominent artists from the Argentine LIJ. In this review, I intend to show the historical evolution of the LIJ and its relationship with the works about memory as a space of struggle and as a revision of the past destined for childhood.