Terruqueo y memoria: la representación del militante izquierdista armado en la producción cultural peruana de posconflicto.
Peruvian cultural production framed within the discourse of duty-memory, according to which remembering the political violence that occurred in the country between 1980 and 2000 is vital for the construction of a democratic nation, has centered on the figure of the innocent victim. This article ques...
| Published in: | Revista de Estudios Hispánicos Vol. 59; no. 3; pp. 501 - 525 |
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| Format: | Article |
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Washington University
oct2025
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=195347935&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 195347935 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 0034818X 2BR jtl: Revista de Estudios Hispánicos issn: 0034818X maglogo: N pubinfo: dt: oct2025 vid: 59 iid: 3 pid: 11468 pub: Washington University artinfo: ui: 195347935 10.1353/rvs.2025.a994459 ppf: 501 ppct: 24 formats: fmt: @attributes: type: P size: 823KB tig: atl: Terruqueo y memoria: la representación del militante izquierdista armado en la producción cultural peruana de posconflicto. aug: au: Hibbett, Alexandra affil: Pontificia Universidad Católica Del Perú. su: Guerrillas Memory Political persecution Political violence Cultural production sug: subj: Guerrillas Memory Political persecution Political violence Cultural production keyword: Alonso Cueto Joel Calero José Carlos Agüero Lurgio Gavilán Peru Shining Path Terrorism Terruqueo Memoria Perú Sendero Luminoso Terrorismo ab: Peruvian cultural production framed within the discourse of duty-memory, according to which remembering the political violence that occurred in the country between 1980 and 2000 is vital for the construction of a democratic nation, has centered on the figure of the innocent victim. This article questions the place given by this production to the representation of armed leftist militants and the extent to which they are depicted as terrorists. Arguing that the logic behind terruqueo—the right-wing strategy of accusing any critics of the State and capitalist system of being terrorists—has surreptitiously conditioned even the most complex Peruvian duty-memory cultural productions, this article offers (counter) readings of three representative cases: the novel La hora azul by Alonso Cueto (2005), the film La última tarde directed by Joel Calero (2016), and the autobiographical essay Los rendidos by José Carlos Agüero (2015). Afterwards, the article offers interpretations of two other productions that take relative distance from the duty-memory framework (the documentary Aquí vamos a morir todos directed by Andrés Mego (2012) and the autobiography Memorias de un soldado desconocido by Lurgio Gavilán (2012)), proposing that they circulate otherwise censored left-wing memories. 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: 2025 holdings: @attributes: islocal: N |
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