Suchergebnisse

Basque society has been exposed to the terrorist violence of the Spanish state during and after the dictatorship and to that of ETA until its definitive cessation of violence on 21 October 2011. The search for the truth demands revealing the existence of state terrorism, regardless of how some historians attempt to diminish its gravity. In this article, the focus will be on cultural productions that make the writing of the history of terrorism in Spain more nuanced. The cultural texts studied include Pablo Malo's film, Lasa eta Zabala ('Lasa and Zabala') (2014), Ion Arretxe's novel Intxaurrondo: La sombra del nogal ('Intxaurrondo: The shade of the walnut tree') (2015), Miguel Ángel Llamas and Amaia Merino's documentary, Non dago Mikel? ('Where is Mikel?') (2020) and the Centro Memorial de las Víctimas del Terrorismo ('Memorial Center for the Victims of Terrorism'), which opened its doors in 2021.

Lo que se ha venido en llamar postporno feminista remite a una política visual del cuerpo donde su representación convencional (con la ocultación de sus partes consideradas inapropiadas) como la pornográfica (con la explotación reificada y comodificada del cuerpo) no encuentran asiento. La estética de los filmes postporno de la directora residente en Barcelona Erika Lust se deslinda tanto del cuerpo oculto bajo la capa gruesa de los tabús morales como se aleja de la violencia de su máxima exhibición y cosificación bajo el paradigma pornográfico. ; What has come to be world-wide known as feminist porn puts forward a visual body politics that turns down both traditional body representations (always veiling masculine and feminine genitalia in order to be considerer proper) and sexist pornographic images (with its gynecological approach to the body). The aesthetics involved in the post-porn films by Barcelona resident director Erika Lust are not interested in hiding the body under a thick layer of moral taboos nor in the violence of its maximum exhibition (and objectification) under the traditional porno paradigm.

Este trabajo analiza desde la literatura la fertilidad de la memoria como un evento político, en la denominación del filósofo Alain Badiou, encaminado a desentrañar claves y procesos de verdad no tomados en cuenta durante la Transición. En concreto se analizan una novela de Andrés Trapiello, "Días y noches" (2000), y otra de Suso de Toro, "Hombre sin nombre" (2006), en su potencial para desmitificar la Guerra Civil y abrir el recuerdo a una noción de ética y de justicia donde lo dejado de lado encuentre el camino de su presencia. ; This paper analyses fertility of the memory as a political event, as it is called by philosopher Alain Badiou, focused to unravel keys and processes of truth to which Transition have not paid attention. Specifically it analyses a novel by Andrés Trapiello, "Días y noches" (2000), and another one by Suso de Toro, "Hombre sin nombre" (2006), and their potential to destroy the myth of Civil War and to open the memory to ethic and justice, so that what is forgotten could find its way to be present.

'Coming back from the dead: Finding justice for Joxi' is an in-depth interview with Pilar Zabala Artano, a sibling of Joxi Zabala who was brutally tortured and murdered by the Grupos Antiterroristas de Liberación (GAL) in 1983. The conversation focuses on her brother as she addresses human rights abuses and the use of torture by the Spanish state. Pilar Zabala also discusses her own personal journey of recovery through restorative justice practices, her human rights advocacy, and her vision of making historical memory a centerpiece of democracy for Basque and Spanish societies.

'Ethical instances of doubt: The case of Yoyes on the screen' is an in-depth interview with filmmakers Helena Taberna and Lur Olaizabal who both focused on the figure of ETA leader Dolores González Katarain, Yoyes, as they each began their film careers despite belonging to different generations of filmmakers. The interview explores gender and necropolitical power as well as feminism and its incompatibility with violence, among other topics. Both filmmakers are interested in Yoyes's role as a female terrorist and ETA leader, her fight against social injustice, and the path that led her to depart from violence at a time when her generation considered that political activism meant fighting the abuses of the Spanish state with fire.