ABSTRACT
This article engages the discussion about the role of the actor/writer as the starting point for the construction of a discourse and its implications in the uses of the past and in texts endeavoring to create a working memory. Based on a comparison of the texts of Enrique Flores Magón, it is shown how the interpretation of the anarchist struggle was transformed into a capitalist fight in order to achieve recognition of its actors as social precursors of the Mexican revolution. To support this argument, we rely on authors who have addressed the subject of memories, such as Paul Ricoeur, Dominick LaCapra, Enzo Traverso and Elizabeth Jelin, among others. We thus seek to explain the use of memory as it impacts historiography and constitutes the historical category of the precursors, extinguishing the record of the fight against capitalism, the state, private property, and all forms of religious belief. The creation of a working memory made possible its inscription in the teleology of the Mexican revolution, but at the cost of the aims of the anarchists.
KEYWORDS
Memories; Precursors; Mexican revolution