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Affect, memory and the blue jumper: Queer languages of loss in Argentina’s aftermath of violence

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Abstract

From 1976 to 1983, a devastating military regime orchestrated the vanishing of 30 000 lives in Argentina, the infamous ‘disappeared’. For more than three decades, the families of the victims commanded the process of national mourning. In this essay, I suggest that the experience of loss has circulated from direct victims to ever-expanding audiences. To articulate this transition, I draw upon recent cultural productions and personal biographies touched by trauma. The story of a particular blue jumper touches upon the theatrical piece Mi vida después (2009), the film Los rubios (2003) and the TV show 23 Pares (2012). This body of work speaks about unconventional forms of care, which have emerged out of grief. It also traces the emergence of a new language to deal with loss. Ultimately, I suggest that disparate forms of ‘affective reparation’ have made room for a queer system of kinship beyond bloodline ties.

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Notes

  1. Approximately 500 new-born babies have been stolen from their mothers at clandestine detention centres during the dictatorship. By July 2015, the Grandmothers of Plaza de Mayo have managed to recover 115 of them.

  2. Hirsch recalls the Barthesian puctum as the first inspiration for her idea of ‘postmemory’. For her, the puctum is surreptitiously attached to the figure of Barthes’ mother (Hirsch, 2008).

  3. The term ‘postmemory’ has been widely present in Argentina’s local context. Among the scholars who discussed this framework, Beatriz Sarlo specially criticises it for being imposed from a foreign landscape. For complete overview on this subject, see the special issue on Postmemory in Latin America published in the Journal of Romance Studies, Vol. 13, Number 3 (2013).

  4. The identification of Marta Taboada’s remains also revealed the cause of death and the place and time when she was assassinated by the military. These findings enabled the charge to be changed from ‘enforced disappearance’ to ‘murder’ (Yuszczuk, 2012).

  5. In the original ‘Momentos como este en que estamos juntos se parece mucho a la Victoria’.

  6. The song is Influencia [Influence], played by Charly García, a well-known Argentine musician. It belongs to the album Influencia (EMI, Buenos Aires, 2002) and was composed for Carri’s film.

  7. In 1996, the children of the disappeared founded H.I.J.O.S, Hijos por la Identidad y la Justicia contra el Olvido y el Silencio (Sons and Daughters for Identity and Justice, against Forgetting and Silence).

  8. In July 2015, Marta Dillon, Albertina Carri and Alejandro Ross were able to amend their son’s birth certificate and inscribe his triple filiation. By then, Furio Carri Dillon Ross was 6 years old. The case will help other families in similar situation to reach legal recognition (see Rodríguez, 2015).

  9. The same-sex marriage, the Gender and the Assisted Fertilisation laws were passed in 2010, 2012 and 2013, all during Cristina Fernandez de Kirchner’s administration (2007 to date). This legal framework is one of the most progressive at the international level.

  10. In December 2013, the show was awarded the ‘Constructing citizenship’ prize by the Autoridad Federal de Servicios de Comunicación Audiovisual (Federal Authority of Audiovisual Communication Services). See www.pagina12.com.ar/diario/suplementos/espectaculos/17-30745-2013-12-06.html.

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Sosa, C. Affect, memory and the blue jumper: Queer languages of loss in Argentina’s aftermath of violence. Subjectivity 8, 358–381 (2015). https://doi.org/10.1057/sub.2015.14

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