Santiago Quintero

Dictaduras bebesangres: Nosferatu y el vampiro político de Griselda Gambaro

Introduction

Dictaduras bebesangres: nosferatu y el vampiro político de griselda gambaro. Análisis de "Nosferatu" de Griselda Gambaro. El vampiro político como metáfora de la dictadura argentina (1966-1983), explorando violencia, biopolítica y memoria.

Abstract

El siguiente artículo analiza dos obras homónimas de la dramaturga argentina Griselda Gambaro: el relato “Nosferatu” (1970) y la obra teatral del mismo nombre, escrita en el setenta, pero publicada hasta 1985. En particular, el texto explora la imagen del vampiro como metáfora operativa para describir y criticar el periodo de violencia política y dictatorial en Argentina entre 1966-1983 (Onganía y Videla). Siguiendo líneas críticas de la filosofía (biopolítica), la literatura y la ciencia política, el ensayo señala cómo los vampiros de Gambaro—en tanto figuras liminales—representan de manera efectiva las lógicas y prácticas del periodo dictatorial argentino, incluyendo la experiencia “concentracionaria” (Calveiro 2004) de la ciudadanía, la preservación de instituciones anti-democráticas, y los problemas relativos a la memoria.

Review

The article, "Dictaduras bebesangres: Nosferatu y el vampiro político de Griselda Gambaro," presents a compelling and timely analysis of Argentine political violence through the lens of Griselda Gambaro's homonymous works, "Nosferatu" (1970 story and 1985 play). Its central thesis, that the figure of the vampire serves as an "operativa" metaphor for understanding and critiquing the dictatorial period in Argentina between 1966 and 1983, is both original and highly relevant. This approach promises to shed new light on how artistic expression grapples with profound historical trauma and political oppression, making a significant contribution to studies of Latin American literature and political history. One of the major strengths of this essay lies in its robust interdisciplinary methodology. By drawing on critical lines from philosophy, particularly biopolitics, alongside literary and political science frameworks, the author is well-positioned to offer a multi-faceted interpretation of Gambaro's texts. The abstract highlights specific avenues of exploration: how Gambaro's vampiric figures, as liminal entities, effectively embody the logics and practices of the Argentine dictatorship. This includes engaging with concepts like the "concentracionaria" experience (as theorized by Calveiro), the perpetuation of anti-democratic institutions, and the complex challenges surrounding historical memory. Such a comprehensive theoretical grounding suggests a deep and nuanced engagement with the chosen subject matter. This article is poised to be an invaluable addition to scholarship on Gambaro, political allegory in Latin American literature, and the cultural memory of state terror. Its insightful approach promises to deepen our understanding of how art can articulate the unspeakable horrors of authoritarianism, particularly through the potent and unsettling imagery of the vampire. The clear theoretical framework and the pertinent selection of Gambaro's works suggest a well-structured argument that will resonate strongly within the fields of literary and political studies.

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