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Elizabeth G. Rivero is a Professor of Spanish at the U.S. Coast Guard Academy, where she teaches Spanish language and Latin American Culture. A native of Uruguay, she received a doctorate in Latin American Literature from the University of Maryland at College Park (2005). Her field of expertise is Southern Cone literature and culture, and post-dictatorial Uruguayan literature and film, memory studies, and ecocriticism Her book
Espacio y nación en la narrativa uruguaya de la posdictadura
(1985-2005) was published by Editorial Corregidor (Buenos Aires, Argentina) in 2011. In this book, she explored the relationship between literature and nation through the study of post-dictatorial Uruguayan novels. In a review published by Revista de Estudios Hispánicos, Giovanna Urdangarain states that this book “comes to fill a void in the critical corpus of post-dictatorial Uruguayan literature”, “constitutes a valuable contribution to [its] literary and historical analysis”, and “is a necessary text for those interested in recent Uruguayan narrative”. She is also co-editor of the volume
The Image of the River in Latin/o American Literature
(Lanham: Lexington Books, 2017). In a review included in Bulletin of Hispanic Studies, Maria DiFrancesco expresses that the book “should be recognized as a valuable addition to existing scholarship focusing on ecocritical concerns”. For DiFrancesco, “[t]he editors of the book and its contributors have accomplished a worthy goal of advancing questions related to the river and water imagery in Latin/o American literature”. Victoria L. Garret writes in a review published by Chasqui: “Though clearly influenced by (and in dialogue with) contemporary ecocritical scholarship, this volume notably broadens this approach to discover how selected literary treatments of rivers and waterways dialogue with historical, social, and political contexts”. Rivero has also published articles in national and international journals.
Uruguayan Post-dictatorial Documentary: Traumatic Memory, Affects, and Emotions
is a groundbreaking study that analyzes how twelve Uruguayan documentaries of the re-democratization period take advantage of the affective potential of film to inscribe the traumatic dictatorial past (1973-1985), construct memory discourses to interpret it, and engage spectators. Produced between 2004 and 2015, these films convene both dominant and relegated narratives about the recent past. Crafted by seasoned filmmakers, such as Mario Handler, José Pedro Charlo and Virginia Martínez, and by emergent directors such as Maiana Bidegain, Juan Álvarez Neme and Pablo Martínez Pessi, they bring varied aesthetic and ideological approaches, and some of them are marked by the international experiences of their creators.
Sommario
Introduction.- Chapter 1: Through the lens of Male Guerrila Members: Discourses on the Recent Past.- Chapter 2: Women, Memory and Resistance.- Chapter 3: Memory, Trauma and Family: The Uruguayan Dictatorship Through the Eyes of the Second Generation.- Chapter 4: The Protagonism of Civil Society.
Info autore
Elizabeth G. Rivero is a Professor of Spanish at the U.S. Coast Guard Academy. Her field of expertise is Southern Cone literature and culture, and her main areas of research are post-dictatorial Uruguayan literature and film, memory studies, and ecocriticism. Her book
Espacio y nación en la narrativa uruguaya de la posdictadura
(1985-2005) was published by Editorial Corregidor (Buenos Aires, Argentina) in 2011. She is also co-editor of the volume
The Image of the River in Latin/o American Literature
(Lanham: Lexington Books, 2017).
Riassunto
Uruguayan Post-dictatorial Documentary: Memory, Affects, and Emotions
analyzes how twelve Uruguayan documentaries from the re-democratization period harness the affective potential of film to inscribe the traumatic dictatorial past (1973–1985), construct memory discourses through which to interpret it, and engage spectators. This book fills a significant gap in the study of Southern Cone documentary film and, more specifically, in contemporary Uruguayan documentary. Whereas critics have predominantly focused on Argentine and Chilean post-dictatorial productions, analyses of comparable works from Uruguay remain scarce. Furthermore, it offers an original approach by foregrounding affects as a crucial element in the production of knowledge about the dictatorial past and its impact on the present. Produced between 2004 and 2015, the films examined in this study convene both dominant and marginalized narratives of the recent past. Crafted by seasoned filmmakers such as Mario Handler, José Pedro Charlo, and Virginia Martínez, as well as emerging directors including Maiana Bidegain, Juan Álvarez Neme, and Pablo Martínez Pessi, these works present diverse aesthetic and ideological perspectives.
