Duelo y ficción en la posguerra peruana (Crítica)

The narrative of internal wars in Peru is molded in discourses of various cultural traditions. Some of these “criollo” works have come to be renowned in a time thirsty of “past present” (Huyssen). The imagery is nurtured by testimonial narrative, which is the building principle in fictional works. My purpose is to contrast the figures of mourning in two works: Iván Thays novel Un lugar llamado Oreja de Perro, and Claudia Llosa’s film La teta asustada. In Thays’s work, the main character dives himself in the world of the dead, where he frees himself of the gloom brought by his personal ghosts. Fausta, in contrast, must rid herself of her mother’s body and in the journey she meets the open.La narración de la guerra interna peruana se modula en discursos de distintas tradiciones culturales. Algunas obras criollas han obtenido una cierta consagración en una época ávida de “pretéritos presentes” (Huyssen). Sus imaginarios se nutren de relatos testimoniales, principios constructivos de las ficciones. A la autora le interesa contrastar las figuraciones del duelo en dos obras: la novela Un lugar llamado Oreja de Perro de Iván Thays y la película La teta asustada de Claudia Llosa. En Thays el protagonista se sumerge en ese mundo de muertos donde se libera de la melancolía en la que lo sume su fantasma personal. Fausta, en cambio, debe desprenderse del cuerpo de su madre y en el viaje hacia la tierra de origen se encuentra con lo abierto.The narrative of internal wars in Peru is molded in discourses of various cultural traditions. Some of these “criollo” works have come to be renowned in a time thirsty of “past present” (Huyssen). The imagery is nurtured by testimonial narrative, which is the building principle in fictional works. My purpose is to contrast the figures of mourning in two works: Iván Thays novel Un lugar llamado Oreja de Perro, and Claudia Llosa’s film La teta asustada. In Thays’s work, the main character dives himself in the world of the dead, where he frees himself of the gloom brought by his personal ghosts. Fausta, in contrast, must rid herself of her mother’s body and in the journey she meets the open