Abstract
In this article I will explore Dominique Viart’s Based on the concept of post-memory, by Marianne Hirsch, this paper aims to analyze the way Brazilian artists, belonging to the generation of children of political exiles from Latin American dictatorships, represented their experiences, their memories and their parents’ narratives. To this end, we’ll approach Tatiana Salem Levy’s A chave de casa (2007LEVY, Tatiana Salem (2007). A chave de casa. Rio de Janeiro: Record .), Paloma Vidal’s Mar Azul (2012VIDAL, Paloma (2012). Mar azul. Rio de Janeiro: Rocco Digital [Kindle].), A Resistência, by Julián Fuks, (2015FUKS, Julián (2015). A resistência. São Paulo: Companhia das Letras.), Rio-Paris-Rio (2016HIDALGO, Luciana (2016). Rio-Paris-Rio. Rio de Janeiro: Rocco Digital. [Kindle]), de Luciana Hidalgo, and the film Deslembro (2018DESLEMBRO. Roteiro e direção de Flávia Castro. Paris: Films du Poisson. (96 minutos).), by Flávia Castro. At first, we will approach the connections between fictional intrigue and family memory, and then analyze the narrative strategies of representation of this often indirect memory, seeking to delineate what would be a Brazilian post-memorial aesthetic. Finally, we will examine the representation of exile as both a transgenerational element and a scenario from a decentralized perspective.
Keywords:
post-memory; dictatorship; Latin America; exile