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Echoes of the Child in Latin American Literature and Film Echoes of the Child in Latin American Literature and Film The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Buiting, Lotte Bernarda. 2015. Echoes of the Child in Latin American Literature and Film. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467313 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Echoes of the Child in Latin American Literature and Film A dissertation presented by Lotte Bernarda Buiting to The Department of Romance Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Romance Languages and Literatures Harvard University Cambridge, Massachusetts October 2014 © 2014 Lotte Bernarda Buiting All rights reserved. Professor Mariano Siskind Lotte Bernarda Buiting Abstract Echoes of the Child in Latin American Literature and Film This dissertation explores the rhetoric of childhood to comprehend how Latin American literature and film signify childhood. It furthermore analyzes the figure of the child as a rhetorical device in the construction of literary and cinematographic meaning in twentieth and twenty-first century poetry, narrative prose and film. I claim that, contrary to prevailing cultural notions of childhood innocence, the child often constitutes an unsettling presence, signaling textual as well as extradiegetic opacities and tensions. Echoes of the Child is divided into three chapters that each present a different approach to childhood. Chapter 1 posits the politicization of the child narrator’s voice as both enabling and restricting the articulation of socio-political trauma. Analyzing texts by Nellie Campobello, Rosario Castellanos, Juan Pablo Villalobos and Juan Rulfo, I contend that child narrators create and subvert meaning depending on the position they occupy vis-à-vis the socio-political turmoil they witness. The second chapter postulates an uneasy alliance between what I call the ‘visual pull’ of the child on screen, and the erotic charge of the image in three Argentine films by Lucrecia Martel, Julia Solomonoff and Federico León / Martín Rejtman. I probe the relationship between the child’s strong screen presence and the forms in which the cinematographic image offers the child ways of transforming sexuality into sensuality; resisting heteronormative sexuality; and of eluding the spell of the adult’s libidinal gaze. iii Performing when she is merely present, I argue that the child bestows a performative dimension on her acting and her very presence. The third and final chapter posits infancy as an impossible experience in poetry from the historical avant-garde by Oliverio Girondo, César Vallejo and Vicente Huidobro. I contend that reading the poetry guided by the infant reveals two sides of ‘experience;’ the poetic expression of the infant’s experience of the world, a question I broach through psychoanalysis, and the poet’s attempts at articulating transcendental experience in language. My analyses reveal how the rhetoric of childhood bears on issues and dynamics in the socio-political realm; it thus contributes to our understanding of processes of signification within Latin American culture. iv Contents Abstract iii Contents v Acknowledgements vii Introduction. Rhetorics of Childhood: Some Minor Issues 1 1. Turmoil on Mexican Soil: Child Narrators Introduction 26 On genre, narrators, and verisimilitude 33 Childhood creates a collective voice 44 Camels in Comitán 62 Speaking in the madriguera 84 Positioning the child’s narrative voice 96 2. Sensual Presence: Children Performing Childhood in New Argentine Film Introduction 104 Sensuality and haptic viewing 113 Childhood as refuge from gender performance 128 Undoing performativity 148 3. An Impossible Meeting in Oblivion: Infancy and Poetry Introduction 168 The historical avant-garde contextualized 174 Infantile perception and fragmented expression 184 Kristevan semiotics: senseless and sensible babble 192 An impossible meeting in oblivion 211 Bibliography 217 v A Jorge vi Acknowledgements It is a pleasure to express my gratitude to everyone who has contributed to this dissertation over the past several years. First of all, I owe an immense debt of gratitude to Mariano Siskind, for being the best advisor I could have asked for. From my first graduate seminar until the final stages of the dissertation and the job search, your continuous support, guidance, generosity and encouragement have been crucial. Thank you for the patience, warmth, intelligence, and indelible care with which you have read and discussed many drafts and chapters, and for showing me how to become a better scholar. Many thanks to Gonzalo Aguilar for teaching me most of what I know about Latin American cinema, and for your generous support of my research throughout the years, both at Harvard and from abroad. Your comments and suggestions have shaped the way I think about Argentine film. Thanks also to Sergio Delgado, for being an enthusiastic part of my dissertation committee from the very beginning. Your feedback has helped shape especially the chapter about poetry, and our conversations always gave me much food for thought, the influence of which shows all throughout the following pages. Haden Guest has been an invaluable interlocutor in my inquiries into childhood and film from the very start. Thank you for your ongoing generosity and friendship, and for the opportunity to learn from you as a Teaching Fellow of great film courses. Eric Rentschler has provided continuous support and encouragement throughout my years at Harvard, for which I am very grateful. Thank you for teaching me so much about film and film theory, close reading, and elegant writing. vii Thanks to Brad Epps, who has keenly supported this project along the way, and whose detailed feedback has helped me to become a better writer. Mary Gaylord has provided help and encouragement during the dissertation writing years, for which I am very grateful. She also organizes the writing workshop, whose members I would like to acknowledge: Andrew Gray, Nicole Legnani, Melissa Machit, Max Seawright, and Tali Zechory. A conversation with Robin Bernstein during the early stages of the prospectus was essential to kick-starting my research, for which my sincere gratitude. For intellectual support in many forms, I would like to thank Rose Corral, at El Colegio de México; Alejandra Josiowicz, who has not only been an esteemed interlocutor about everything related to childhood in Latin America, but also a wonderful friend; the members of the panels about childhood I organized at the ACLA, particularly Iben Engelhardt Andersen, Karin Nykvist and Sophie Dufays. I would have been nowhere without the emotional support from many, near and far. Thanks to my parents, Ben and Marian Buiting, and my sisters Hilde and Marleen Buiting, for your love and care. To Bertha Vargas, Jorge, Alejandro and Alicia Téllez, for providing me with a second home in Mexico City. Thanks to Carlos Varón for the conversation in the Gato Rojo about Jan Terlouw, many years ago, that prompted this dissertation, and for being such an amazing friend. Thanks to Melissa Machit for your friendship, support, celebrations, visits, and countless conversations about gender and sexuality. Thanks also to Raquel Abend van Dalen, Violeta Banica, Kim ter Beke, Juan Berdeja, Sengdeune Braun, Annemarie Eek, Jonas de Graaf, Goretti González, Rosario viii Hubert, Chloé Lavalette, Eduardo Ledesma, Nicole Legnani, Brenda Lozano, Manuel Molina, Sally Onn, Sergi Rivero, Andrés Sanín, Cara Takakjian, Cinthya Torres, Ana María Tribín, and Marcel Verheijdt. A very special thank you to Charlotte Bakker, who is there for me always, no matter how many miles separate us. Your loving friendship and confidence in me mean the world to me. I dedicate this dissertation to Jorge Téllez, to whom I owe more than I know how to express. Your critical readings and suggestions, as well as our many conversations have much benefitted this dissertation; your belief in my intellectual project has given me confidence; and your love has held me. Thank you. And finally, to el Sófocles, for all things childish. ix Introduction. Rhetorics of Childhood: Some Minor Issues On April 9, 2012, a private political platform in Mexico called ‘Nuestro México del Futuro’ posts a short film on YouTube, titled “El reclamo de los niños incómodos.” The film, aimed to intervene in public debate regarding the presidential elections of July 1, 2012, is shared massively on social media.1 In the short, several children act out corrupt or socially disadvantaged versions of their adult selves. During the final sequence they assume their identities as children, walk out onto an empty sound stage, and address the presidential candidates directly: “México ya tocó fondo. ¿Sólo van a ir por la silla, o van a cambiar el futuro de nuestro país?” (00:03.49). Perhaps the most telling response is that of presidential candidate for the Partido Acción Nacional, Josefina Vásquez Mota. She mentions how “profundamente doloroso” it is to be called to order by children – conveniently sidestepping the fact that none of the candidates are called to order by children, but by the political platform that organized and financed the short film. A few years earlier, Fabrica, the “communication research center” of United Colors of Benetton, asks English photographer James Mollison to articulate an artistic response to the issue of children’s rights.2 He creates a book that contains 56 diptychs, each consisting of a portrait of a child and her or his sleeping quarters, taken all around 1 On Twitter, for example, the video was a trending topic under the hashtag #niñosincómodos. 2 The NGO ‘Save the Children’ also provided financial and practical support for the project.
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