Abstract In this article I examine the use of spectral figures in two works related to the Peruvian internal armed conflict, Julio Ortega’s novella Adiós Ayacucho (1986) and theater troupe Grupo Cultural Yuyachkani’s play Santiago (2000), as representations of the untimely, a notion that, according to Giorgio Agamben, defines the contemporary. I contend that by employing ghostly images, as well as those of undead beings and hauntings, both pieces not only bring to the fore the underlying tensions that gave rise to the conflict and gesture toward the victims of political violence, but they also reveal official narratives of healing, national reconciliation, and the overcoming of trauma as essentially fractured. By countering these current discourses, the text and the play offer the possibility of rethinking the period of violence in order to see it not as a dark chapter to grapple with, but as the condition of possibility of Peruvian national history. Finally, I argue that these texts constitute an intervention into the current discourse of memory—one that is officially sanctioned by the state—to offer a glimpse of the past that uncovers the myriad ways in which it is still at work in the present.

中文翻译：

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秘鲁的活死人：幽灵、不合时宜和内部武装冲突

摘要 在这篇文章中，我研究了两部与秘鲁内部武装冲突有关的作品中光谱人物的使用，胡里奥奥尔特加的中篇小说 Adiós Ayacucho (1986) 和剧团 Grupo Cultural Yuyachkani 的戏剧圣地亚哥 (2000)，作为不合时宜的概念的代表根据乔治·阿甘本的说法，它定义了当代。我认为，通过使用幽灵般的图像，以及不死生物和鬼魂的图像，这两件作品不仅突出了引发冲突的潜在紧张局势，并对政治暴力的受害者做出了姿态，而且还揭示了官方叙述治愈、民族和解以及克服基本上已经破裂的创伤。通过反驳这些当前的话语，文本和戏剧提供了重新思考暴力时期的可能性，以便将其视为秘鲁民族历史的可能性条件而不是一个黑暗的章节来应对。最后，我认为这些文本构成了对当前记忆话语的干预——一种受到国家官方认可的话语——提供对过去的一瞥，揭示它在当下仍在发挥作用的无数方式。