LA VOZ DORMIDA DULCE CHACON PDF

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Skip to main content. Log In Sign Up. La parole est toujours au chasseur. Speech always belongs to the hunter. In the debates on mass graves, this question is taking shape with an exceptional intensity. Indeed society is torn apart between divergent intentions.

On the one hand, one of them would be to open the graves in order to identify the bodies and to reveal the circumstances of their death, enabling the families to finally go into mourning.

On the other hand stands the refusal to open the graves for reasons of decency, or to avoid the trouble of doemida old wounds 2. Because of many controversies on the matter, the past reappears in the forefront, revealing a country which is still struggling with a memorial uneasiness, more than seventy years after the conflict.

This difficult situation comes from a doubtful memorial tradition which puts to the fore the difference of memorial treatment between the winners and the defeated. To the contrary, the memory of the republicans, who could not mourn their dead, has been crushed and forced to secrecy or exile.

Seuil,p. All the translations put into brackets were made by the author of this paper. Parcours dans l’imaginaire occidental Presses universitaires de Louvain: Among these groups we find women. At the heart of the defeated community, the feminine memory was therefore built as a differentiated one, hurt in the specificity of its experience 7: For example, the volume El silencio roto.

Mujeres contra el franquismo de Fernanda Romeu Alfaro9 self-published first incould find its place in the more traditional editing networks in Published inthis novel is mostly based on interviews lead by the writer.

Oppositional Practices in Dulce Chacón’s La voz dormida: Affirming Women’s Testimony and Agency

Rodopi,p. Perrin,p.

Fiol Bosch et al. Historia de la misoginia Barcelona: Anthropos,p. The sleeping voice London: However it is a remarkable hermeneutic front door to the analysis of a certain kind of literature.

In addition, Pierre Nora does not forget to put aside the locative aspect, for he confers to sites of memory three different meanings which are always connected: Because of its publishing background dormira a significant publishing houseand very favourable critics, the novel has therefore become a site in a material sense.

But the novel is also a symbolic site, like a minute of dorida, for even if we are too close to the publication of the novel to be able to assess the erosion of time and to affirm that it has effectively become a symbolic element to a certain community the real, emotional or political descendants hcacon the vanquishedwe know that this desire prevailed in the creation of the novel.

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Dulce Cchacon, a dedication opens the book: Even if it is obvious, this detail is momentous in our study. Indeed Pierre Nora reminds us that the memorial ambition must exist16, otherwise all that would be worth remembering would become a site of memory, giving to the notion a large definition but less interesting. To that memorial ambition is added another one: The author has indeed lead discussions for four years with former prisoners of the Francoist prisons and their family circles.

Finally the novel can also be a functional site of dormica The novel crystallizes the memories and makes the transmission possible, as a testament does more obviously. The awakening of the voices 12 Pierre Nora ed. Pierre Nora, Realms of memory: Conflicts and divisions New York: Columbia University Press,p.

Libertarias, and Ana Luengo, La encrucijada de la memoria. Chafon Literarias Y Visuales Madrid: Iberoamericana,p. Far from being a simple consequence of the conflict situation, the interdiction to be in mourning incarnates the extremities imposed to the vanquished vulce order to break the resistance of the families: Only a few trusted they would have been given back the bodies, and they would have not been arrested and interrogated.

The others looked at the portraits trying to control their feelings, not to let their face betray them in case they saw the death of their relatives.

They kept silent and they domrida, with no sign of pain, with no tears. Their location was most of the time unknown to the families, and those families chcaon not got any place where they could install their pain.

The funeral treatment itself increases the trauma of the loss of relatives. Y puedan cerrarles los ojos. Y les laven la cara. She could not bury her, nor close her eyes, nor wash the blood off her face before giving her to the ground.

Because of that, she goes to the East Cemetery every morning, and, with her cousin Isabel, she hides in a mausoleum until the shootings are not audible anymore. Because of that, she runs towards the dead, and she takes cuttings out of their clothes with scissors and she shows it to the dormiea waiting on the door, so that some chaxon them may recognize them from those small remnants, and enter to the cemetery.

And close their eyes.

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And wash their faces. The novel also evokes the complete disappearance of the bodies, with the tragic story of Tomasa. Her relatives have been shot dead and Falangists let their body drift away in the current of the river. But La voz dormida also deals with speech, which is an attempt to leave the trauma behind, by breaking the silence imposed.

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The one coming out of the mass graves, the one coming from the prison of Ventas, but also a more ordinary silence which had been forged out of the feminine experience of the civil war. That is the case of Hortensia who remembers learning to read in the maquis.

That will allow her to leave a trace after her death, by writing diaries dedicated to Felipe and her daughter, abolishing the physical and temporal distance. El silencio hace su ronda y ronda la locura. Y ronda y ronda. Grita para llenar el silencio con la historia, con su historia, la suya. Our only duty is to survive, Hortensia said in the last assembly she had attended.

LA VOZ DORMIDA by Dulce Chacon (2005, Paperback)

Tomasa will not allow the pain to crush her to the ground. Silence cchacon on patrol and so does madness. It patrols and patrols. And to tell the story, so that madness does not go with silence.

She stands up and cries out. To survive is to resist. She cries out to fill the silence with the story, with her story, her own story. Y le ha cerrado los ojos. Un trozo de franela gris, con florecitas blancas. And she will give her a small piece of fabric cut with a scissor.

A piece of grey flannel, with small white flowers. Llevaba unas tijeras en la mano. She had scissors in a hand. She cut a small piece of the vest she wore to die. And closed her eyes. And washed her dorrmida.

Reme piensa en aquel cuatro de agosto. Recuerda la palidez de la funcionaria que fue a buscarlas […]. They brought them to the chapel the day after the trial, at midnight, on August the fourth.

Now we can go to bed, Anita said. Reme thinks about that fourth of August. She reminds the paleness of the functionary that 19 We will come back later on the reason of this choice.

Max Niemeyer Verlag, They were sentenced to death by a military court for a crime they had not committed. Seven of them were under 21 years. Desde la ventana, vio a Las Trece Rosas atraversar el patio. Salieron de la capilla de dos en dos, sin humillar la cabeza. A cada pareja les escoltaban tres guardias civiles. Las subieron en camiones. Todas continuaron con la cabeza alta. Julita Conesa siempre cantaba. She strokes her present. She can remember her very well.