The mass media, especially those closest to the Establishment, pretend to be the flag in the filing of all those who daily dramas identify excluded and disadvantaged communities, in most cases, by the State. It would be a total lack unaware that behind this dynamic media hides some manipulation of information which allows, in the collective imagination, the absolution of responsibility for it state apparatus and the minimization of conflicts living. When this happens, the truth is not transmitted. It begins to set a single voice "authorized" to give account to the largest Colombian tragedies that marked and still affecting them. And questions arise about this phenomenon, arising from the concern to learn about another discourse that could counterbalance and out at the same time, the voice of those who still do not.
is here where literary narrative positions, resulting in the direct approach of the testimony. As Lucia Ortiz puts it in testimonial narratives in Colombia. Alfredo Molano, Alfonso Salazar, Sandra Afanador, one of the most committed and caring work is encouraged in this genre is the loose association of fictionality to the various testimonies and stories of survivors and direct actors in a nation overwhelming situations.
This narrative experience is no stranger in our continent, let alone the country. Armed conflicts in Central America, for example, were now conducive for setting up this type of approach between reality and fiction. The cases reviewed by Ortiz in his article, described in the Colombian context, they reaffirmed that the central axis of the stories revolved around those phenomena socio - political importance: the internal dynamics of FARC-EP as its members, the takeover of the Palace of Justice, the massacres at the hands of paramilitaries. In the words of the author: "(...) the basic principle of this kind is to give expression to the issues that have affected those who have not had a voice in the modern world" (p. 342)
The nature of complaint, together the recreation of an intimate space where relatante-human being who blanket full name appearing with a fake, but linked to a real drama or reality-provides details unknown to the reader, combine, a recent, high-value proposal historical and aesthetic.
an inside gender allows us to present some key features that are taken into account. One of them refers to the "medium" who channels of experience. Obviously this paragraph refers to the writer of the day who should have special handling of the information to carry out such an undertaking. The specialist or expert in the proper technique, it may well be a journalist, as is the case of Jose Navia Confessions of a criminal - if talked sociologist Alfredo Molano in Trails and guns - or other interested professional mediator and committed to contribute to the truth.
Similarly, Ortiz gives some value and Foreword preponderance of texts to witnesses, and that "(...) the prefatory pages serve to clarify the process to design and establish your objective." (p. 345).
In specific terms, the stories analyzed by the author can find some reference marks that differ from the proposed testimony of radio and television media. Basically rely on the structure of each story, the constant complaints of the central characters, deep reflection of the fact lived, ideological bias swap in each proposal, and above all the originality that the (re) creator can print to a true story fictionalized.
Specifically, this document allows an approach to some local testimonial narrative experiences, highlighting the hard work done by the writer and the very basis of the story that somehow identifies us with our reality. Reality shows us that as time has continued to position itself and leads to other new aspects to consider: drug trafficking, paramilitaries, armed conflict, crime, kidnapping.
After seeing this media - art gravitate around the axis of testimony and the complaint remains to be determined, in light of the above by Ortiz, the narrative proposals to come. Fortunately, the literature relies upon to show solidarity towards those who have no voice and can say that despite not winning the lottery, in the words of Eduardo Galeano.
Prepared by: Juan Carrillo Aranzalez
Bibliographic reference.
ORTIZ, Lucia. Testimonial narrative in Colombia: Alfredo Molano, Alfonso Salazar, Sandra Afanador. In: Literature and Culture. Colombian narrative of the twentieth century. Volume II. Spread, changes, shifts. {Accessed June 15, 2010}. Available at: < http://www.lablaa.org/blaavirtual/literatura/narrativa/Volumen2CapIII.pdf >.
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