Testimony from the Dentist’s Chair. Metalepsis and Postmemory in Tristísima ceniza: Un tebeo de Robert Capa en Bilbao (2011)

• Nagore Sedano ^[1]
  1. [1] University of Puget Sound

     University of Puget Sound

     Estados Unidos

     
• Localización: eHumanista: IVITRA, Nº. 19, 2021, págs. 241-255
• Idioma: inglés
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• Resumen

  • In this article, I examine the self-conscious, collage aesthetics of Iñaket and Mikel Begoña’s graphic novel Tristísima ceniza: Un tebeo de Robert Capa en Bilbao (2011). Drawing on Marianne Hirsch’s theorization of “postmemory,” I provide a critical reading of Tristísima ceniza’s collage aesthetics that illuminates the instrumentalization of metalepsis in memory-related graphic novels to foreground the affective link of postmemory. I concentrate on what I see as the primary form of metalepsis in the book: the medial transposition of Capa’s photographs–and, in particular, of his forgotten Monte Sollube, frente de Bilbao (1937). I argue that medial transposition allows Tristísima ceniza to not only propose an alternative to the familiar public images from the Civil War visual archive, but also to the familial images and tropes that have dominated memory discourses in the Basque Country.