简介
Summary:
Publisher Summary 1
The Maoist guerrilla group Shining Path launched its violent campaign against the government in Peru's Ayacucho region in 1980. When the military and counterinsurgency police forces were dispatched to oppose the insurrection, the violence quickly escalated. The peasant community of Sarhua was at the epicenter of the conflict, and this small village is the focus of Unveiling Secrets of War in the Peruvian Andes. There, nearly a decade after the event, Olga M. Gonz谩lez follows the tangled thread of a public secret: the disappearance of Narciso Huicho, the man blamed for plunging Sarhua into a conflict that would sunder the community for years.
Drawing on extensive fieldwork and a novel use of a cycle of paintings, Gonz谩lez examines the relationship between secrecy and memory. Her attention to the gaps and silences within both the Sarhuinos' oral histories and the paintings reveals the pervasive reality of secrecy for people who have endured episodes of intense violence. Gonz谩lez conveys how public secrets turn the process of unmasking into a complex mode of truth telling. Ultimately, public secrecy is an intricate way of 鈥渞emembering to forget鈥?that establishes a normative truth that makes life livable in the aftermath of a civil war.
目录
Table Of Contents:
List of Illustrations: Maps, Table, Figures xi
I Introduction 1(24)
Secret or Forgotten Memories? 1(11)
The Making of the Ethnography 12(13)
II The Village And The Impact Of Political Violence 25(24)
Sarhua Llaqta: The Village of Sarhua and Its People 25(12)
The Times of Danger 37(12)
III The Said And The Unsaid 49(26)
An Unusual Visit 49(2)
Intended Forgetfulness 51(3)
Gossip 54(4)
The Missing Image of the Disappeared Man 58(5)
Envy 63(3)
Ressentiment 66(4)
Confession 70(2)
The Power to Silence 72(3)
IV The Production Of "Truth" 75(28)
Old and New Sarhuino Painting Traditions 75(5)
Events, Blamed Actors, and Time Sequence in the Piraq Causa 80(3)
Absent Themes 83(2)
Unexpected Viewers and the Question of "Truth" 85(5)
The Role of Imagination 90(1)
Traces of the Real 91(3)
Relationship between the Image and the Text 94(2)
Condensation, Exaggeration, and Accentuation 96(4)
Symbolism 100(3)
V Social Disruption 103(19)
The Threat of Individualism: An Inside Enemy 103(10)
The Threat of Outside Enemies: A Call for Unity 113(6)
A Threat to Abolish the Varayoqkuna System: A Sign of Disunity 119(3)
VI A Familiar Secret 122(32)
A Crucial Alliance 122(2)
A Deferred Response 124(1)
The Final Push 125(2)
The Uprising 127(3)
Capricho 130(2)
The Expulsion 132(1)
Sarhua Charged with Terrorism 133(4)
Narciso Seeks Revenge 137(5)
The Community's Reaction 142(3)
A Secretly Deserved Death 145(9)
VII Ambiguous Realities 154(27)
Narciso Appears in Dreams 154(4)
Between the Visible and the Invisible 158(5)
Qarqachas 163(4)
Defiant qarqachas 167(7)
Condenados 174(4)
The Condenado of Ranranizio 178(1)
The Condenado of Aywiri 179(2)
VIII Behind The Visible 181(28)
Another "Disappearance" 181(2)
Secret 1: The Invisible Presence of the State 183(7)
Secret 2: Communal Justice or Private Revenge? 190(4)
Secret 3: The Community's Endorsement of Justiniano and Sendero 194(6)
Secret 4: The Surrender and Pardon of Sarhuino Senderistas 200(9)
IX Conclusions 209(10)
Afterword Coda To An Investigation: New Findings And Old 219(10)
Appendixes
Appendix A: The Piraq Causa Paintings, Spanish Captions 229(9)
Appendix B: The General Law of Peasant Communities 238(2)
Appendix C: Communal Meeting of November 30, 1996 240(5)
Glossary of Terms and Acronyms 245(8)
Notes 253(30)
References 283(12)
Index 295
List of Illustrations: Maps, Table, Figures xi
I Introduction 1(24)
Secret or Forgotten Memories? 1(11)
The Making of the Ethnography 12(13)
II The Village And The Impact Of Political Violence 25(24)
Sarhua Llaqta: The Village of Sarhua and Its People 25(12)
The Times of Danger 37(12)
III The Said And The Unsaid 49(26)
An Unusual Visit 49(2)
Intended Forgetfulness 51(3)
Gossip 54(4)
The Missing Image of the Disappeared Man 58(5)
Envy 63(3)
Ressentiment 66(4)
Confession 70(2)
The Power to Silence 72(3)
IV The Production Of "Truth" 75(28)
Old and New Sarhuino Painting Traditions 75(5)
Events, Blamed Actors, and Time Sequence in the Piraq Causa 80(3)
Absent Themes 83(2)
Unexpected Viewers and the Question of "Truth" 85(5)
The Role of Imagination 90(1)
Traces of the Real 91(3)
Relationship between the Image and the Text 94(2)
Condensation, Exaggeration, and Accentuation 96(4)
Symbolism 100(3)
V Social Disruption 103(19)
The Threat of Individualism: An Inside Enemy 103(10)
The Threat of Outside Enemies: A Call for Unity 113(6)
A Threat to Abolish the Varayoqkuna System: A Sign of Disunity 119(3)
VI A Familiar Secret 122(32)
A Crucial Alliance 122(2)
A Deferred Response 124(1)
The Final Push 125(2)
The Uprising 127(3)
Capricho 130(2)
The Expulsion 132(1)
Sarhua Charged with Terrorism 133(4)
Narciso Seeks Revenge 137(5)
The Community's Reaction 142(3)
A Secretly Deserved Death 145(9)
VII Ambiguous Realities 154(27)
Narciso Appears in Dreams 154(4)
Between the Visible and the Invisible 158(5)
Qarqachas 163(4)
Defiant qarqachas 167(7)
Condenados 174(4)
The Condenado of Ranranizio 178(1)
The Condenado of Aywiri 179(2)
VIII Behind The Visible 181(28)
Another "Disappearance" 181(2)
Secret 1: The Invisible Presence of the State 183(7)
Secret 2: Communal Justice or Private Revenge? 190(4)
Secret 3: The Community's Endorsement of Justiniano and Sendero 194(6)
Secret 4: The Surrender and Pardon of Sarhuino Senderistas 200(9)
IX Conclusions 209(10)
Afterword Coda To An Investigation: New Findings And Old 219(10)
Appendixes
Appendix A: The Piraq Causa Paintings, Spanish Captions 229(9)
Appendix B: The General Law of Peasant Communities 238(2)
Appendix C: Communal Meeting of November 30, 1996 240(5)
Glossary of Terms and Acronyms 245(8)
Notes 253(30)
References 283(12)
Index 295
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