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RESUMEN Este artículo se inscribe en la discusión sobre el papel del actor/escritor como punto de partida para la construcción de un discurso y sus implicaciones en los usos del pasado y en los trabajos abocados a generar una memoria funcional. A partir de la comparación de los textos de Enrique Flores Magón, se demuestra cómo se modificó la lectura sobre la lucha anarquista para presentarla como capitalista y obtener un reconocimiento de sus actores como precursores sociales de la Revolución mexicana. Para sustentar la propuesta, nos basamos en autores que han abordado el tema de las memorias, como Paul Ricoeur, Dominick LaCapra, Enzo Traverso y Elizabeth Jelin, entre otros. Buscamos, así, explicar el uso de la memoria que impactó la historiografía y constituyó la categoría histórica de los precursores, eliminando el registro de la lucha contra el capitalismo, el Estado, la propiedad privada y toda forma de creencia religiosa. Crear una memoria funcional permitió, en efecto, inscribirse en la teleología de la Revolución mexicana, pero una contraria a los fines de los anarquistas.Resumo em Inglês:
ABSTRACT This article engages the discussion about the role of the actor/writer as the starting point for the construction of a discourse and its implications in the uses of the past and in texts endeavoring to create a working memory. Based on a comparison of the texts of Enrique Flores Magón, it is shown how the interpretation of the anarchist struggle was transformed into a capitalist fight in order to achieve recognition of its actors as social precursors of the Mexican revolution. To support this argument, we rely on authors who have addressed the subject of memories, such as Paul Ricoeur, Dominick LaCapra, Enzo Traverso and Elizabeth Jelin, among others. We thus seek to explain the use of memory as it impacts historiography and constitutes the historical category of the precursors, extinguishing the record of the fight against capitalism, the state, private property, and all forms of religious belief. The creation of a working memory made possible its inscription in the teleology of the Mexican revolution, but at the cost of the aims of the anarchists.Resumo em Inglês:
ABSTRACT Apocalypse, often evoking images of fiery judgments and cataclysmic endings, is situated within religious, perhaps especially Christian, traditions. Recent literature analyzing how apocalyptic narratives are leveraged within religious contexts, especially stories of conquest, has emphasized facets of this role, both rhetorically and logically, in their construction and framing. I investigate several of these, in addition to a contemporary, secular example, to show how apocalyptic logic is leveraged within them. Specifically, the discursive and aesthetic constituents of these narratives appear connected to teleologies emplotted within a story-telling framework of prophecy-cum-apocalypse. I argue that this relationship is instrumental as it gives meaning to these stories, as histories. Apocalypse’s function within historicity has been recognized by such authors as Daniel Reff, Antonis Liakos, and Stephen O’Leary, and my argument leverages their important insights while going beyond them to suggest that apocalyptic historicity trades as much in beginnings as it does in endings, allowing for a more thorough, indeed intimate, integration of prophetic elements within historical narratives.Resumo em Espanhol:
RESUMEN En este artículo se busca hacer evidente una filosofía de la historia que se desprende del pensamiento de Bernard Stiegler (1952-2020). El autor francés no lo planteó explícitamente, pero en su obra insistió en que la historia de la humanidad es una historia técnica de la memoria. Apuntándose a la coherencia de lo propuesto aquí, este texto se orienta desde la perspectiva de la filosofía de la técnica, a la que tanto Stiegler como los grupos Ars Industrialis y Colectivo Internación, en los cuales trabajó, han contribuido ampliamente mediante planteamientos que, recientemente, se han sintetizado en la obra Bifurquer (2020). Por ello, este documento es también una invitación a pensar la memoria con y desde la técnica como una vía para la búsqueda de respuestas a los problemas del mundo actual. En síntesis, concebir la historia como una farmacología y una terapéutica para, lejos de plantear una teleología, contribuir a una repolitización de la memoria.Resumo em Inglês:
ABSTRACT This article aims to evidence a philosophy of history based on Bernard Stiegler’s (1952-2020) thought. The French author did not explicitly state this, but in his work he insisted on the idea that the history of humanity is a technical history of memory. Seeking coherence with what is proposed here, this text is oriented from the perspective of the philosophy of technique, to which both Stiegler and the groups Ars Industrialis and Internation Collective, in which he worked, have contributed extensively, and whose approaches have recently been synthesized in the work Bifurquer (2020). Thus, this paper is also an invitation to think about memory with and from the technique, in order to find answers to the problems of today’s world. In summary, to conceive history as a pharmacology and a therapeutics, which, far from proposing a teleology, contributes to a re-politicization of memory.Resumo em Português:
RESUMO Sob a perspectiva preponderante do conceito de “trabalhos da memória”, de Elizabeth Jelin, em diálogo com “lugares de memória”, de Pierre Nora, e levantando questões sobre a pertinência ou não da categoria “memória coletiva”, de Maurice Halbwachs, este artigo problematiza os desafios de analisarmos e compreendermos um episódio recente que envolveu o livro infantojuvenil Meninos sem Pátria, de Luiz Puntel, obra acusada, em 2018, por pais de alunos de um tradicional colégio do Rio de Janeiro, de fazer apologia ao comunismo e de tentar doutrinar as crianças. Nesse sentido, temos como principal objetivo analisar criticamente o conteúdo da obra - como fonte e objeto -, tanto no campo da literatura de ficção, de testemunho e sua relação com as memórias e a história. Como resultado, constata-se na referida narrativa a presença recorrente de “veículos de memória” e, questiona-se, se os protestos ideológicos contra o livro estavam ancorados em alguma análise crítica.Resumo em Inglês:
ABSTRACT Under the prevailing perspective of Elizabeth Jelin’s “works of memory” concept, in dialogue with Pierre Nora’s “memory places” and raising questions about the relevance or not of Maurice Halbwachs’ “collective memory” category, the article problematizes the challenges of analyzing and understanding a recent episode involving the children’s book “Meninos sem Pátria”, by Luiz Puntel, whose work was accused, in 2018, by parents of students from a traditional school in Rio de Janeiro, of making an apology for communism and trying to indoctrinate children. In this sense, our main objective is to critically analyze the content of the work - as source and object - both in the field of fiction literature, testimony and its relationship with memories and history. As a result, the recurrent presence of “vehicles of memory” can be seen in the aforementioned narrative, and it is questioned whether the ideological protests against the book were anchored in any critical analysis.Resumo em Inglês:
ABSTRACT Following on some of the ideas proposed by Georges Didi-Huberman in an exhibition at the Jeu de Paume in Paris, this article offers reflections on uprising as a repetitive, sovereign, and collective gesture of a search for freedom. First, we define this idea of the uprising based on a series of recent works by authors such as Judith Butler, Elsa Dorlin, and Jacques Rancière. We will try to think about the relation between revolt, revolution and crisis, emphasizing the temporary characteristics of these terms. Following that, we specifically address the relationship between uprisings and the suspension of historical time that has been clearly proposed by the Italian historian Furio Jesi in Spartakus. This leads us to a review of the same notion of suspension from Walter Benjamin’s perspective, while also considering proposals made by Giorgio Agamben and Aby Warburg as fundamental interlocutors. Finally, we will discuss the current state of the concept through the lenses of some recent occurrences in Latin America.Resumo em Espanhol:
RESUMEN La apuesta benjaminiana implica repensar la historia de forma tal que al contarla no se dé nada por perdido. De aquí la necesidad de un nuevo método histórico que capte críticamente desde el presente los materiales del pasado para, así, actualizarlos. En el presente artículo, partimos del poemario argentino Deuda & literatura, de Omar Chauvié (2017), para llevar a cabo una reflexión sobre el montaje como principio técnico y metodológico de construcción del conocimiento histórico. En segundo lugar, haremos un recorrido por el concepto de montaje y de ciertas figuras —la técnica, la cita, lo auténtico— para ver cómo operan en las diversas esferas de pensamiento de Walter Benjamin. Por último, abordaremos la idea de historia discontinua benjaminiana y la noción de anacronismo. Este recorrido nos permitirá vislumbrar que es posible otra construcción del conocimiento histórico a partir de la cita de materiales y de la estructura de un montaje que lleve como insignia y sello lo “auténtico”.Resumo em Inglês:
ABSTRACT The Benjaminian bet involves rethinking history in such a way that in recounting it nothing is lost. Hence the need for a new historical method that can critically capture from the present materials of the past in order to update them. In the present work, we decided to start from the Argentinian poetry book Deuda & literatura, by Omar Chauvié (2017), to reflect on montage as a technical and methodological principle of building historical knowledge. Secondly, we will take a tour through the concept of montage and certain figures—the technique, the quote, the authentic—to see how they operate in the different spheres of Walter Benjamin‘s thought. Finally, we will address the idea of the Benjaminian discontinuous history and the notion of anachronism. This tour will allow us to perceive that another construction of historical knowledge from the citation of materials and the structure of a montage that carries “the authentic” as its insignia and seal is possible.Resumo em Português:
RESUMO Na experiência de tempo atualista, o futuro nada mais é que uma nova versão do presente, como se o poder de agência dos sujeitos diminuísse. O presente artigo analisa dois tipos de ações que podem contribuir para o enfraquecimento de tal lógica: a preservação de acervos de museus através da digitalização e a discussão a respeito dos monumentos urbanos. A hipótese levantada é a de que a virtualização de museus e a modificação de monumentos possuem o potencial de atualizações históricas, desde que compreendam, assim como a narrativa historiográfica, os legados do passado e os projetos de futuro que fazem parte do presente, visando à defesa de valores democráticos e de uma sociedade mais igualitária. Conclui-se, por fim, que uma melhor compreensão do presente e a renovação de uma expectativa de futuro na qual sejamos agentes, e não apenas espectadores, pode ser alcançada através da narrativa histórica como ação contra-atualista, da incorporação de variadas percepções do tempo na historiografia e da abertura de possibilidades no futuro.Resumo em Inglês:
ABSTRACT In the experience of the time called “updatism”, the future is nothing more than a new version of the present, as if the subject’s power of agency had decayed. This paper analyzes two actions that can help to attenuate this logic: the digitization of museum collections and the discussion about urban monuments. The hypothesis raised by us is that the virtualization of museums and the modification of monuments have potential as historical updates, as long as they comprehend, as well as the historiographical narrative, the legacies of the past and the projects for the future that are part of the present, aspiring to the defense of democratic values and a more egalitarian society. Finally, we concluded that a better understanding of the present and the renewal of an expectation of the future in which we are agents, and not just spectators, can be achieved through the historical narrative as a counter-updatism action, the incorporation of varied perceptions of the time in historiography and the opening of possibilities in the future.Resumo em Inglês:
ABSTRACT This article considers the role that spatiality played in Koselleck’s work. With that aim, we will examine how the writer dealt with the relationship between historicity and spatiality. His few theorizations regarding this topic will be taken into account, as well as different concepts relevant to his work that evoke this partnership. Through an analysis of five terms, Zeitschichten, Erfahrungsraum, Erwartungshorizont, Standortbindung, and Utopie, we will show how spatiality holds a secondary position in relation to history and how they affect Koselleck’s theory of historical times.Resumo em Português:
RESUMO O objetivo deste artigo é traduzir a teoria ator-rede para a historiografia com a finalidade de descrever a agência de atores do “passado” no “presente”. Isto será feito a partir do resgate da descrição do translado da múmia de Ramsés II do Museu do Cairo para Paris em 1976, realizada por Bruno Latour em textos nos quais sustenta a sua tese da historicidade dos objetos científicos. A partir da descrição deste fenômeno, neste artigo visa-se a criar ferramentas etnográficas que permitam utilizar a teoria ator-rede na historiografia para traçar as políticas do tempo em redes compostas por agências multitemporais. Essa abordagem tem por justificativa contribuir para a investigação sobre as tanatoagências no “presente” como participantes legítimas que apresentam proposições nas controvérsias políticas. Por fim, neste artigo conclui-se que a teoria ator-rede pode ser uma metodologia eficiente para a descrição da agência dos mortos na coetaneidade desde que sejam consideradas as mediações implicadas nos processos de temporalização e seja assumido um pluralismo ontológico das formas de se fabricar o tempo.Resumo em Inglês:
ABSTRACT The aim of this article is to translate the actor-network theory into historiography to describe the agency of actors from the “past” in the “present”. This will be done based on Bruno Lator’s description of the displacement of the mummy of Ramses II from the Cairo Museum to Paris in 1976 , in which the author supports his thesis of the historicity of scientific objects. Based on the description of this phenomenon, this article aims to create ethnographic tools that allow the use of the actor-network theory in historiography to trace the politics of time in networks composed of multitemporal agencies. This approach is justified to contribute to the investigation on the agencies of the dead in the “present” as legitimate participants who present propositions in political controversies. Finally, this article concludes that the actor-network can be an efficient methodology for describing the agency of the dead in coevalness, as long as it considers the mediations involved in temporalization processes and assumes an ontological pluralism of ways of manufacturing time.