Tomo 1. Páginas 393-403

This article interprets Trilce (1922) by César Vallejo as a reaction to the emergence of the modern woman. By linking the analysis of the poems to a historical reconstruction of the changes that were underway in the social positioning of Peruvian women at the beginning of the 20th century, it explores the female figures of the mother, the sexual woman, the woman who has aborted and the voiceless woman, and shows how Trilce relates them to different aspects of time and modernity. Furthermore, it shows how, when facing these figures, the speaker makes himself visible, with bad conscience, as a subject who is not universal, but male. It is also in the face of these female figures that the poems signal that the encounter with the modern woman is what forces their own poetic style towards its most avant-garde innovations.

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Primera edición

This article interprets Trilce (1922) by César Vallejo as a reaction to the emergence of the modern woman. By linking the analysis of the poems to a historical reconstruction of the changes that were underway in the social positioning of Peruvian women at the beginning of the 20th century, it explores the female figures of the mother, the sexual woman, the woman who has aborted and the voiceless woman, and shows how Trilce relates them to different aspects of time and modernity. Furthermore, it shows how, when facing these figures, the speaker makes himself visible, with bad conscience, as a subject who is not universal, but male. It is also in the face of these female figures that the poems signal that the encounter with the modern woman is what forces their own poetic style towards its most avant-garde innovations.

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This article interprets Trilce (1922) by César Vallejo as a reaction to the emergence of the modern woman. By linking the analysis of the poems to a historical reconstruction of the changes that were underway in the social positioning of Peruvian women at the beginning of the 20th century, it explores the female figures of the mother, the sexual woman, the woman who has aborted and the voiceless woman, and shows how Trilce relates them to different aspects of time and modernity. Furthermore, it shows how, when facing these figures, the speaker makes himself visible, with bad conscience, as a subject who is not universal, but male. It is also in the face of these female figures that the poems signal that the encounter with the modern woman is what forces their own poetic style towards its most avant-garde innovations.

Este libro es una incursión en el archivo de los testimonios sobre la violencia política ocurrida en el Perú entre los años 1980 y 2000, material fundamental y poco estudiado hasta la fecha. El archivo está constituido principalmente por los casi 17 000 testimonios que recopiló la Comisión de la Verdad y Reconciliación (2001-2003), disponibles al público en el Centro de Información para la Memoria Colectiva y los Derechos Humanos de la Defensoría del Pueblo.

A pesar de que la violencia política desatada por Sendero Luminoso y el Movimiento Revolucionario Túpac Amaru contra el Estado Peruano (1980-2000) marcó profundamente nuestra historia, las políticas públicas de memoria y conmemoración de estos años son aún incipientes. No sorprende que la concreción de un proyecto estatal como el Lugar de la Memoria, la Tolerancia y la Inclusión Social (LUM) en Lima, capital de la República peruana, tuviera que responder a distintos retos, políticos, técnicos, burocrático-administrativos y académicos. La presente investigación hace un recuento detallado del proceso de creación de esta política de memoria; sistematiza los retos a los que se enfrentó y explica las estrategias desplegadas en distintos momentos para lograr la ejecución del proyecto. Asimismo, argumenta que este proceso tuvo un impacto sobre la naturaleza de la institució...