ABSTRACT

The junction between the memory of violence of the past and fictional registry is a dimension of post-dictatorial society’s cultural dynamics. While the testimonial narrative is dominant in the literary sphere, the archive as a repository of memory and documental inscription, with the capacity to iterate and transit from one social field to another, challenges regimes of truth and lineal temporality of official memory. This article identifies, characterises and compares the way in which records are employed in contemporary Chilean post-dictatorship narrative. The archive enables us to problematise and contextualise the relation to the recent dictatorial past and the opening up of new fields of reflection. The incorporation of records in four recent Chilean post-dictatorship novels (Puño y Letra by Eltit; Sprinters, Los Niños de Colonia Dignidad by Larra; La Dimensión Desconocida by Fernández and Monte Maravilla by Lafferte) is achieved through quotes or theme development. Such resources bring to light the fascination as well as the scepticism that archives generate in literature, as well as their effectiveness for expressing the intricate, and even contradictory, mechanisms of memory.

摘要

过去的暴力记忆与虚构的登记处之间的连接是后独裁社会文化动态的一个维度。虽然见证叙事在文学领域占主导地位，但档案作为记忆和文献铭文的储存库，具有从一个社会领域迭代和过渡到另一个社会领域的能力，挑战了官方记忆的真相制度和直系时间性。本文识别、描述和比较了当代智利独裁后叙事中使用记录的方式。档案使我们能够将与最近的独裁过去的关系问题化和语境化，并开辟新的反思领域。将记录纳入最近的四本智利后独裁小说（Eltit 的 Puño y Letra；Sprinters，拉拉的Los Niños de Colonia Dignidad；Fernández 的 La Dimensión Desconocida 和 Lafferte 的 Monte Maravilla）是通过引用或主题开发来实现的。这些资源揭示了档案在文学中产生的魅力和怀疑，以及它们在表达复杂甚至矛盾的记忆机制方面的有效性。