Person: Aguirre-Oteiza, Daniel
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Aguirre-Oteiza
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Daniel
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Aguirre-Oteiza, Daniel
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Publication Recuérdalo Tú Y Recuérdalo a Otros: Historical Memory and Poetic History in Luis Cernuda’s ‘1936(2017-09) Aguirre-Oteiza, DanielLuis Cernuda’s ‘Recuérdalo tú y recuérdalo a otros’ has become a frequent reference in the debates over historical memory of the Spanish Civil War that have taken place in Spain at least since 2004. Readers tend to treat this poetic line as an authoritative exhortation, and in repeating it, they seem to remember Cernuda and remember Cernuda to others, carrying out the act of remembrance that it demands. This essay explores the value of this act of remembrance. Among the questions this essay asks are: What function do the memorial strategies unique to lyric utterance fulfill in shaping collective memory? What social purposes do poetic testimonies serve in a historical period marked by memory and commemoration?Publication The Song of Disappearance: Memory, History, and Testimony in the Poetry of Antonio Gamoneda(New Prairie Press, 2012) Aguirre-Oteiza, DanielPublication “Excavando tumbas en el sonido”: memoria de la represión e historia de la recepción de la poesía de Antonio Gamoneda(Carleton University, 2013) Aguirre-Oteiza, DanielEste artículo estudia el largo poema de Antonio Gamoneda Descripción de la mentira (1977) como un testimonio de la experiencia personal y colectiva de la represión ocurrida durante la guerra civil española y la dictadura franquista. El artículo explora concretamente de qué forma la oblicua escritura gamonediana da fe de las desapariciones, muertes y olvidos que marcaron el denominado tiempo de silencio del franquismo, y puede servir de lugar de memoria en el contexto del reciente debate sobre la memoria histórica en España. El estudio de la recepción crítica de Descripción de la mentira desde su aparición al comienzo de la transición democrática arroja luz sobre un texto oscuro, carente en principio de indicaciones específicas de lugar y tiempo que ayuden al lector a orientarse en una historia y una geografía definidas. Un recorrido por esta historia de la recepción y, especialmente, por la crítica de Miguel Casado (el lector que más ha contribuido a difundir la obra de Gamoneda) pone de relieve las desapariciones y los olvidos inscritos en Descripción de la mentira y permite definir el poema como una forma de escritura epitáfica que conmemora a los muertos mediante su inserción simbólica en el discurso.Publication “El óxido se posó en mi lengua”: Especularidad, espectralidad y memoria de l a muerte en Antonio Gamoneda y Marcel Proust(Johns Hopkins University Press, 2015) Aguirre-Oteiza, DanielPublication Usurping the Apocryphal: Antonio Muñoz Molina's Cosmopolitan Memory of Max Aub's Rhetoric of Testimony(Johns Hopkins University Press, 2017) Aguirre-Oteiza, DanielThis paper focuses on a recent gesture by the Spanish novelist and public intellectual Antonio Muñoz Molina to publicly recuperate Aub’s testimony of uprootedness in France, Algeria, and Mexico, a gesture that relies on the concept of cosmopolitan memory as it has been developed in Holocaust studies. I critique Muñoz Molina’s use of the Holocaust as a template for a transnational cultural history based on a supposedly shared Jewish past. Muñoz Molina generalizes on two levels: he turns Aub into an exemplary witness of a historical conjuncture – World War II – and he subsumes that conjuncture under a general rubric of totalitarianism. He thus paradoxically downplays Aub’s main tropes of testimony, the alias and the apocryphal, and displaces Aub’s testimonial poetics of alterity, plurivocality, and opacity with a rhetoric of equivalence, univocality, and self-evidence. Drawing on Edward Said’s reflections on exile, the chapter shows the relevance of Aub’s poetry – tellingly overlooked by Muñoz Molina – for understanding his exilic writings, and concludes with a discussion of his decentered position in Spanish culture today.Publication “La fotografía es la misma muerte”: Ruina, espectro y testimonio de Antonio Machado en Guerra en España de Juan Ramón Jiménez(Johns Hopkins University Press, 2015) Aguirre-Oteiza, DanielFrom 1936 to 1954 poet, editor, translator, critic, and Nobel laureate Juan Ramón Jiménez (Spain, 1881 – Puerto Rico, 1958) assembled an archive of heterogeneous texts and documents produced by him and others: photographs, journal entries, newspaper clippings, letters, poems, lectures, interviews, and aphorisms. Published in Spain in 1985 as Guerra en España, this corpus was Jiménez’s transatlantic testimony of his pro-Republican activities during the Spanish Civil War and his long exile in the US and Latin America. This paper argues that this unfinished cross-generic project also contains a visionary, poetic testimony to life after death. Guided by the memory of Antonio Machado, the towering Republican poet who died in exile in 1939, Jiménez’s visionary poetics can be read as an autobiographical montage of epitaphic ruins that bears witness to a symbolic near-death experience in times of crisis while it also safeguards his own works against reductive political uses. Although scholars have recently granted Jiménez increasing importance in twentieth-century Spanish intellectual history, they highlight historical reference and archival documentation over Jiménez’s poetic testimony. As such, they fail to acknowledge the ways in which socio-political determinations shape the peculiar form of memory that is inscribed in Guerra en España.Publication Usurping the Apocryphal: Antonio Muñoz Molina's Cosmopolitan Memory of Max Aub's Rhetoric of Testimony(Project Muse, 2017) Aguirre-Oteiza, DanielThis article explores Antonio Muñoz Molina's recuperation of Max Aub's literary testimony of uprootedness for Spanish national culture. Muñoz Molina's reading is inflected by the concept of cosmopolitan memory as it has been developed in Holocaust studies. Muñoz Molina's recuperation can be critiqued for his controversial use of the Holocaust as a template for a transnational cultural history based on a supposedly shared Jewish past. Muñoz Molina generalizes on two levels: he turns Aub into an exemplary witness of two historical junctures—the Spanish Civil War and World War II—and he subsumes both junctures under the general rubric of totalitarianism. As a result, Muñoz Molina paradoxically downplays Aub's main tropes of testimony, the alias and the apocryphal, and disregards his testimonial poetics of alterity, plurivocality, and opacity in favor of a rhetoric of equivalence, univocality, and self-evidence that is derived from cosmopolitan memory. Thus, Muñoz Molina turns Aub into a precursor whose place he tries to symbolically usurp—along with other Jewish authors, Aub is made to occupy a trans-historical topos to which Muñoz Molina wants to discursively return.