Oír el silencio: paisajes sonoros no humanos en Silencios de Juan Manuel Echavarría.
In the series of photographs Silencios (2010-present), Juan Manuel Echavarría portrays the abandoned rural schools in Colombia caused by enforced displacement in the frame of the armed conflict. Unlike the abundant representations of violence in Colombia in which the human body is the protagonist an...
| Publicado en: | Revista de Estudios Hispánicos Vol. 58; no. 1; pp. 251 - 274 |
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| Autor principal: | |
| Formato: | Artículo |
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Washington University
mar2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=178617450&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 178617450 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 0034818X 2BR jtl: Revista de Estudios Hispánicos issn: 0034818X maglogo: N pubinfo: dt: mar2024 vid: 58 iid: 1 pid: 11468 pub: Washington University artinfo: ui: 178617450 10.1353/rvs.2024.a931928 ppf: 251 ppct: 23 formats: fmt: @attributes: type: P size: 7.5MB tig: atl: Oír el silencio: paisajes sonoros no humanos en Silencios de Juan Manuel Echavarría. aug: au: MOLANO PARRADO, MARÍA PAULA affil: DUKE UNIVERSITY su: War Human body Domestic animals School boards Acoustics Colombia sug: subj: Colombia War Human body Domestic animals School boards Acoustics keyword: animals nonhuman photography soundscape violence animales Colombia fotografía Juan Manuel Echavarría no humano paisaje sonoro violencia ab: In the series of photographs Silencios (2010-present), Juan Manuel Echavarría portrays the abandoned rural schools in Colombia caused by enforced displacement in the frame of the armed conflict. Unlike the abundant representations of violence in Colombia in which the human body is the protagonist and direct violence prevails (such as mutilated bodies, corpses, and grieving physiognomies), in these images, there is no presence of human bodies. Conversely, the photographer decided to depict the ruins and in four of them, he portrays farm animals in front of the school boards, such as a rooster, a calf, and a donkey. Departing from the title of the series, which alludes to sound, I articulate the way in which, by decentering the human body and centering the animal as a witness of violence, a nonhuman soundscape is configured that challenges the scopophilia and anthropocentrism that dominates the visuality of the armed conflict in Colombia. Even though this article departs from the question of the visual representation of violence in Colombia, it is also intended to contribute to the intersection between sound studies, visual studies, and more than human perspectives. pubtype: Academic Journal doctype: Article src: R language: Spanish refInfo: copyright: @attributes: flag: Y custom: Copyright of Revista de Estudios Hispánicos is the property of Washington University and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Revista de Estudios Hispánicos holder: Washington University dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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