{"id":32814,"date":"2021-06-28T06:00:40","date_gmt":"2021-06-28T05:00:40","guid":{"rendered":"http:\/\/a-desk.org\/?p=32814"},"modified":"2023-07-09T14:33:59","modified_gmt":"2023-07-09T12:33:59","slug":"col%c2%b7lapsant-el-temps-doblegant-lespai","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/col%c2%b7lapsant-el-temps-doblegant-lespai\/","title":{"rendered":"Col\u00b7lapsant el temps, doblegant l&#8217;espai"},"content":{"rendered":"<p>Penso sovint en la mem\u00f2ria del bronze i la carn, la mem\u00f2ria en les nostres paraules, la mem\u00f2ria en el marbre, la mem\u00f2ria en el paper i la mem\u00f2ria en la pantalla. La mem\u00f2ria que viu en el cos i en l&#8217;oralitat est\u00e0 en constant evoluci\u00f3 i mutaci\u00f3 <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_1');\" onkeypress=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_1');\" ><sup id=\"footnote_plugin_tooltip_32814_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_32814_1_1\" class=\"footnote_tooltip\">en refer\u00e8ncia al que Pierre\u00a0Nora descriu como &#8220;milieux\u00a0de\u00a0m\u00e9moire&#8221;,\u00a0veure\u00a0Nora, \u2018Between\u00a0Memory\u00a0and\u00a0History\u2019<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_32814_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_32814_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, la mem\u00f2ria escrita en paper transcendeix el temps de vida dels organismes biol\u00f2gics, el bronze i la pedra allarguen la seva vida durant segles a canvi d&#8217;estabilitat, i la pantalla retorna a la mem\u00f2ria la capacitat de la seva\u00a0dataficaci\u00f3n\u00a0i\u00a0impermanencia <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_2');\" onkeypress=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_2');\" ><sup id=\"footnote_plugin_tooltip_32814_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_32814_1_2\" class=\"footnote_tooltip\"> lectura, \u2018Seeing\u00a0Red\u2019 <\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_32814_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_32814_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Cada mitj\u00e0 condiciona la capacitat de la mem\u00f2ria per a la mutaci\u00f3 o l&#8217;estabilitat, per a la resposta o la neglig\u00e8ncia, per a la curaci\u00f3 o el mal. Per\u00f2 no \u00e9s el bronze de les est\u00e0tues a Robert E. Llegeix, Crist\u00f2for Colom, Edward\u00a0Colston\u00a0o Fra\u00a0Jun\u00edpero\u00a0Serra el que of\u00e8n i impulsa un moviment global per al seu enderrocament. \u00c9s aquesta capacitat dels monuments per a la programaci\u00f3 afectiva -o el control mnemot\u00e8cnic, com el defineix la te\u00f2rica cultural\u00a0Luciana\u00a0Parisi-\u00a0la que trobem culpable: el rescat de les nostres narratives culturals per part de les estructures de poder que imposen la perman\u00e8ncia i el manteniment de tals objectes en l&#8217;espai p\u00fablic <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_3');\" onkeypress=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_3');\" ><sup id=\"footnote_plugin_tooltip_32814_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_32814_1_3\" class=\"footnote_tooltip\"> Parisi\u00a0i Goodman, \u2018Mnemonic\u00a0Control\u2019 <\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_32814_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_32814_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Aqu\u00ed trobem el mal ressort de la blancor que imposa als nostres cossos socials, ambientals i individuals -vius i presents aqu\u00ed i ara- estructures de jerarquia que deshumanitzen i oprimeixen la difer\u00e8ncia de melanina. No obstant aix\u00f2, fixem la nostra atenci\u00f3 en aquestes est\u00e0tues com a representants de guerres passades per a preservar l&#8217;esclavitud negra, d&#8217;expedicions colonials passades per a extreure la riquesa de la terra o del genocidi cultural passat perpetrat contra els primers pobles. Ens aferrem amb exc\u00e9s d&#8217;energia a aquestes representacions d&#8217;aquests passats <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_4');\" onkeypress=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_4');\" ><sup id=\"footnote_plugin_tooltip_32814_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_32814_1_4\" class=\"footnote_tooltip\"> Faulkner,\u00a0Requiem\u00a0for\u00a0a\u00a0Nun, p 85 <\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_32814_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_32814_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Per\u00f2 el passat mai \u00e9s passat. La viol\u00e8ncia de la blancor colonial i racista continua perpetrant-se sobre els m\u00faltiples i mutables presents dels nostres diversos i divergents \u00e9ssers, no del tot a trav\u00e9s del ferro de les cadenes, sin\u00f3 mediada pel bronze dels monuments que ofusquen la viol\u00e8ncia encara per venir.\u00a0Freud\u00a0va escriure sobre com alguns dels seus pacients, quan se&#8217;ls demanava que recordessin records llunyans de la inf\u00e0ncia -massa llunyans per a ser recordats amb precisi\u00f3-, ho feien com a records pantalla. El bronze es converteix aix\u00ed en una mem\u00f2ria pantalla: una reconstrucci\u00f3 incompleta de la nostra pr\u00f2pia narrativa, que instiga la repetici\u00f3 compulsiva de la viol\u00e8ncia del passat. <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_5');\" onkeypress=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_5');\" ><sup id=\"footnote_plugin_tooltip_32814_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_32814_1_5\" class=\"footnote_tooltip\"> Freud, \u201cRemembering,\u00a0Repeating\u00a0and\u00a0Working-Through\u201d <\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_32814_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_32814_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p>\n<p>Aquesta fixaci\u00f3 en el material dels monuments, en lloc dels materials de la carn i la llei, sovint complica els camins per a l&#8217;elaboraci\u00f3 del trauma -la seva curaci\u00f3- que travessen els processos de just\u00edcia, reparaci\u00f3 i no repetici\u00f3. Perqu\u00e8 en realitat no recordem nom\u00e9s per recordar. El que busquem a trav\u00e9s del record \u00e9s comprendre el nostre jo violent i, a partir d&#8217;aqu\u00ed, prendre mesures per a reparar el nostre jo, per la qual cosa el lloc de la ter\u00e0pia es converteix en els cossos dels nostres altres socials, col\u00b7lectius, gregaris, lligats a la naturalesa. Per a aix\u00f2 serveix la mem\u00f2ria, en la seva dimensi\u00f3 m\u00e9s biol\u00f2gica i fonamental, la capacitat d&#8217;emmagatzemar els coneixements adquirits per a recordar-los m\u00e9s tard i evitar intencionadament circumst\u00e0ncies previsiblement desagradables i planificar l&#8217;acci\u00f3 futura <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_6');\" onkeypress=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_6');\" ><sup id=\"footnote_plugin_tooltip_32814_1_6\" class=\"footnote_plugin_tooltip_text\">[6]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_32814_1_6\" class=\"footnote_tooltip\"> Sherwood, 2010, 158 <\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_32814_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_32814_1_6', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. No obstant aix\u00f2, els espais dels tribunals i les institucions s\u00f3n amb massa freq\u00fc\u00e8ncia massa complexos per a treballar amb ells, i transformar el seu potencial de viol\u00e8ncia en capacitat de cura exigeix nivells d&#8217;ag\u00e8ncia i defensa de dif\u00edcil acc\u00e9s, especialment per als afectats per la barb\u00e0rie. Per aix\u00f2 crec que hem ritualitzat la destrucci\u00f3 del bronze en els monuments: all\u00ed no trobem guardians que defensin amb la llei la inmutabilitat de les estructures de poder violentes. Ens trobem cara a cara, sense intermediaris aparents, amb aquesta mediaci\u00f3 met\u00e0l\u00b7lica de la viol\u00e8ncia. Quan derroquem aquestes est\u00e0tues dels colonitzadors, s&#8217;obre una sortida a la r\u00e0bia digna a trav\u00e9s del teixit de l&#8217;espai p\u00fablic. Tamb\u00e9 es tanca la ferida massa aviat perqu\u00e8 es curi. Sense la llum del sol i l&#8217;aire fresc de l&#8217;escrutini p\u00fablic i la veritat p\u00fablica, s&#8217;enverina en la impunitat fins que el seu dolor \u00e9s una plaga que ja no es pot ignorar, i ens ajuntem i barregem per a tornar a estripar el bronze.\u00a0Ritus\u00a0ad\u00a0perpetuam.<\/p>\n<p>Si el que declarem buscar \u00e9s l&#8217;alliberament de la viol\u00e8ncia, la repetici\u00f3 compulsiva del ritual d&#8217;enderrocament de monuments que fixen el passat presenta dos problemes. En primer lloc, projectem en el bronze la viol\u00e8ncia perpetrada per les estructures de poder ofensives i els seus agents, i si els morts no es preocupen per les particularitats dels vius, les seves representacions es preocupen encara menys. En segon lloc, desplacem la viol\u00e8ncia soferta pels vius d&#8217;avui lluny dels seus cossos i comunitats, i centrem els esfor\u00e7os en un cos col\u00b7lectiu abstracte de protesta. El que resulta problem\u00e0tic en aquests rituals no s\u00f3n les tensions entre l&#8217;individual i el col\u00b7lectiu, ni els\u00a0loci\u00a0del passat contra el present, sin\u00f3 l&#8217;impuls de triar un sobre l&#8217;altre perqu\u00e8 continuem concebent el temps com a lineal i l&#8217;espai com a cartogr\u00e0fic.<\/p>\n<p>Com podem alliberar-nos de la linealitat temporal i de la cartografia espacial, aquestes estructures narratives necess\u00e0ries perqu\u00e8 els monuments tinguin sentit?\u00a0Com podr\u00edem estimular simultane\u00eftats temporals i topologies espacials que col\u00b7lapsin el temps i pleguin l&#8217;espai perqu\u00e8 el colonitzador del passat pugui conversar amb el colonitzat d&#8217;avui? A la recerca de possibles respostes, recorro a la ficci\u00f3 -en particular a la ci\u00e8ncia-ficci\u00f3- per a imaginar no sols els futurs en els quals ens enfrontem a la viol\u00e8ncia, sin\u00f3 per a transformar-la efectivament en just\u00edcia, reparaci\u00f3 i no repetici\u00f3. D&#8217;aquesta manera, podem centrar-nos en les estructures narratives dels monuments que volem derrocar avui, aix\u00ed com en la narraci\u00f3 de la viol\u00e8ncia del dem\u00e0. El material, llavors, no \u00e9s nom\u00e9s el bronze, o la carn, o la llei, sin\u00f3 tot aix\u00f2 i m\u00e9s entreteixit a trav\u00e9s del teixit de la narraci\u00f3 de ficci\u00f3. Ser capa\u00e7 de recordar all\u00f2 no manifestat. Anticipar -no sols recordar- la mem\u00f2ria.<\/p>\n<p>Sento els crits de\u00a0Beloved\u00a0en la mem\u00f2ria de Toni\u00a0Morrison\u00a0i la negativa del passat a quedar-se en el passat, sin\u00f3 a recollir els traumes presents que persegueixen les generacions futures. Recorro mentalment la\u00a0Comala\u00a0del novel\u00b7lista Juan\u00a0Rulfo, un poble sencer plagat de fantasmes que murmuren a les nits hist\u00f2ries de passats violents <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_7');\" onkeypress=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_7');\" ><sup id=\"footnote_plugin_tooltip_32814_1_7\" class=\"footnote_plugin_tooltip_text\">[7]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_32814_1_7\" class=\"footnote_tooltip\"> Ag, \u201cToni\u00a0Morrison:\u00a0Rememory\u00a0and\u00a0Writing\u201d <\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_32814_1_7').tooltip({ tip: '#footnote_plugin_tooltip_text_32814_1_7', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. En la ficci\u00f3 abunden les narracions on els passats irresoluts persegueixen els personatges, ja siguin visitants accidentals o descendents. La hist\u00f2ria, que ja no es preocupa per la linealitat temporal positivista, ha adoptat tamb\u00e9 un inter\u00e8s per les concepcions espirals del temps. La visi\u00f3 de l&#8217;historiador Alexander\u00a0Avi\u00f1a\u00a0sobre les hist\u00f2ries c\u00edcliques de la viol\u00e8ncia a M\u00e8xic, on la irresoluci\u00f3 i la repetici\u00f3 de la injust\u00edcia posseeixen noves generacions de lluites socials, per a convertir-se en espectres de la revoluci\u00f3 <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_8');\" onkeypress=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_8');\" ><sup id=\"footnote_plugin_tooltip_32814_1_8\" class=\"footnote_plugin_tooltip_text\">[8]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_32814_1_8\" class=\"footnote_tooltip\"> Avi\u00f1a,\u00a0Specters\u00a0of\u00a0Revolution <\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_32814_1_8').tooltip({ tip: '#footnote_plugin_tooltip_text_32814_1_8', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. No obstant aix\u00f2, aquests exemples relacionen el passat amb el present, per\u00f2 rares vegades miren al futur per a incloure aquest plec de temps i espai. L&#8217;estudi\u00f3s de la mem\u00f2ria\u00a0Stef\u00a0Craps s&#8217;ocupa de manera productiva de la mem\u00f2ria anticipada en observar com el cinema i la ficci\u00f3 han imaginat futurs en els quals no es va evitar la crisi clim\u00e0tica, i les perspectives dels historiadors del futur narren als nostres \u00e9ssers presents la cat\u00e0strofe que encara est\u00e0 per arribar <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_9');\" onkeypress=\"footnote_moveToReference_32814_1('footnote_plugin_reference_32814_1_9');\" ><sup id=\"footnote_plugin_tooltip_32814_1_9\" class=\"footnote_plugin_tooltip_text\">[9]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_32814_1_9\" class=\"footnote_tooltip\"> Craps, \u201cClimate\u00a0Change\u00a0and\u00a0the\u00a0Art\u00a0ofAnticipatory\u00a0Memory\u201d <\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_32814_1_9').tooltip({ tip: '#footnote_plugin_tooltip_text_32814_1_9', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n<p>I aix\u00ed penso en el bronze, la carn, el paper i la pantalla mentre els monuments cauen. Qu\u00e8 els substituir\u00e0? Ser\u00e0 una escultura actualitzada que tornar\u00e0 a ser derrocada en un ritual futur? O podem desafiar radicalment el material de la mem\u00f2ria, col\u00b7lapsar el temps i plegar l&#8217;espai en una nova forma de record, de comprom\u00eds amb la mem\u00f2ria a trav\u00e9s de la ficci\u00f3, per a no sols imaginar la repetici\u00f3 de la viol\u00e8ncia, sin\u00f3 el seu alliberament continu i\u00a0impermanent?\u00a0Tal vegada, si ens allunyem de la hist\u00f2ria com a mat\u00e8ria primera dels monuments i ens acostem a la mat\u00e8ria de la ficci\u00f3 i la narraci\u00f3, per a no ocupar, sin\u00f3 crear cont\u00ednuament l&#8217;espai i el temps, les noves formes de record poden acostar-nos a la ra\u00f3 per la qual recordem: no per a recordar, sin\u00f3 per a evitar que el mal es repeteixi.<\/p>\n<p>&nbsp;<\/p>\n<p>Bibliograf\u00eda<\/p>\n<p>Ag, Peter Lang. \u201cToni Morrison: Rememory and Writing,\u201d 2021, 19.<\/p>\n<p>Avi\u00f1a, Alexander. Specters of Revolution: Peasant Guerrillas in the Cold War Mexican Countryside. Oxford: Oxford University Press, USA, 2014.<\/p>\n<p>Craps, Stef. \u201cClimate Change and the Art of Anticipatory Memory.\u201d Parallax 23, no. 4 (2 Octubre 2, 2017): 479\u201392. https:\/\/doi.org\/10.1080\/13534645.2017.1374518.<\/p>\n<p>Faulkner, William. Requiem for a Nun. London: Vintage, 1950.<\/p>\n<p>Freeman, Lindsey A., Benjamin Nienass, and Laliv Melamed. \u201cScreen Memory.\u201d International Journal of Politics, Culture, and Society 26, no. 1 (Mar\u00e7 2013): 1\u20137. https:\/\/doi.org\/10.1007\/s10767-013-9135-x.<\/p>\n<p>Freud, Sigmund. \u201cRemembering, Repeating and Working-Through.\u201d Further Recommendations on the Technique of Psycho-Analysis, 1914, 6.<\/p>\n<p>Gordon, Avery. Ghostly Matters: Haunting and the Sociological Imagination. New University of Minnesota Press ed. Minneapolis: University of Minnesota Press, 2008.<\/p>\n<p>Leyh, Brianne McGonigle. \u201cImperatives of the Present: Black Lives Matter and the Politics of Memory and Memorialization.\u201d Netherlands Quarterly of Human Rights 38, no. 4 (Decembre 2020): 239\u201345. https:\/\/doi.org\/10.1177\/0924051920967541.<\/p>\n<p>Nora, Pierre. \u2018Between Memory and History: Les Lieux de M\u00e9moire\u2019. <em>Representations<\/em>, no. 26 (Abril 1989): 7\u201324. <a href=\"https:\/\/doi.org\/10.2307\/2928520\">https:\/\/doi.org\/10.2307\/2928520<\/a><\/p>\n<p>Parisi, Luciana, and Steve Goodman. \u201cMnemonic Control.\u201d In Beyond Biopolitics, edited by Patricia Ticineto Clough and Craig Willse, 163\u201376. Duke University Press, 2011. https:\/\/doi.org\/10.1215\/9780822394235-007.<\/p>\n<p>Perez, Javier Ernesto. \u201cSpeculating Ancestor(Ie)s: The Cavernous Memory of White Innocence and Fluid Embodiments of Afrofuturist Memory-Work.\u201d Humanities 9, no. 4 (November 23, 2020): 138. https:\/\/doi.org\/10.3390\/h9040138.<\/p>\n<p>Reading, Anna. \u2018Seeing Red: A Political Economy of Digital Memory\u2019. <em>Media, Culture &amp; Society<\/em> 36, no. 6 (Setembre 2014): 748\u201360. <a href=\"https:\/\/doi.org\/10.1177\/0163443714532980\">https:\/\/doi.org\/10.1177\/0163443714532980<\/a>.<\/p>\n<p>Sherwood, Lauralee. Human Physiology: From Cells to Systems. 7th ed. Australia\u202f; United States: Brooks\/Cole, Cengage Learning, 2010.<\/p>\n<p>Toppled Monuments Archive. \u201cToppled Monuments Archive.\u201d Accessed 5 Abril , 2021. https:\/\/www.toppledmonumentsarchive.org.<\/p>\n<p>&nbsp;<\/p>\n<p>(Imatge destacada:Il\u00b7lustraci\u00f3 de Sergio Beltr\u00e1n-Garc\u00eda)<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_32814_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_32814_1();\">[<a id=\"footnote_reference_container_collapse_button_32814_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_32814_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_32814_1('footnote_plugin_tooltip_32814_1_1');\"><a id=\"footnote_plugin_reference_32814_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">en refer\u00e8ncia al que Pierre\u00a0Nora descriu como &#8220;milieux\u00a0de\u00a0m\u00e9moire&#8221;,\u00a0veure\u00a0Nora, \u2018Between\u00a0Memory\u00a0and\u00a0History\u2019<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_32814_1('footnote_plugin_tooltip_32814_1_2');\"><a id=\"footnote_plugin_reference_32814_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\"> lectura, \u2018Seeing\u00a0Red\u2019 <\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_32814_1('footnote_plugin_tooltip_32814_1_3');\"><a id=\"footnote_plugin_reference_32814_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\"> Parisi\u00a0i Goodman, \u2018Mnemonic\u00a0Control\u2019 <\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_32814_1('footnote_plugin_tooltip_32814_1_4');\"><a id=\"footnote_plugin_reference_32814_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\"> Faulkner,\u00a0Requiem\u00a0for\u00a0a\u00a0Nun, p 85 <\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_32814_1('footnote_plugin_tooltip_32814_1_5');\"><a id=\"footnote_plugin_reference_32814_1_5\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5<\/a><\/th> <td class=\"footnote_plugin_text\"> Freud, \u201cRemembering,\u00a0Repeating\u00a0and\u00a0Working-Through\u201d <\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_32814_1('footnote_plugin_tooltip_32814_1_6');\"><a id=\"footnote_plugin_reference_32814_1_6\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>6<\/a><\/th> <td class=\"footnote_plugin_text\"> Sherwood, 2010, 158 <\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_32814_1('footnote_plugin_tooltip_32814_1_7');\"><a id=\"footnote_plugin_reference_32814_1_7\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>7<\/a><\/th> <td class=\"footnote_plugin_text\"> Ag, \u201cToni\u00a0Morrison:\u00a0Rememory\u00a0and\u00a0Writing\u201d <\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_32814_1('footnote_plugin_tooltip_32814_1_8');\"><a id=\"footnote_plugin_reference_32814_1_8\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>8<\/a><\/th> <td class=\"footnote_plugin_text\"> Avi\u00f1a,\u00a0Specters\u00a0of\u00a0Revolution <\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_32814_1('footnote_plugin_tooltip_32814_1_9');\"><a id=\"footnote_plugin_reference_32814_1_9\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>9<\/a><\/th> <td class=\"footnote_plugin_text\"> Craps, \u201cClimate\u00a0Change\u00a0and\u00a0the\u00a0Art\u00a0ofAnticipatory\u00a0Memory\u201d <\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_32814_1() { jQuery('#footnote_references_container_32814_1').show(); jQuery('#footnote_reference_container_collapse_button_32814_1').text('\u2212'); } function footnote_collapse_reference_container_32814_1() { jQuery('#footnote_references_container_32814_1').hide(); jQuery('#footnote_reference_container_collapse_button_32814_1').text('+'); } function footnote_expand_collapse_reference_container_32814_1() { if (jQuery('#footnote_references_container_32814_1').is(':hidden')) { footnote_expand_reference_container_32814_1(); } else { footnote_collapse_reference_container_32814_1(); } } 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