La representación social del miedo en El Camino En La Sombra: interpretación desde la perspectiva de los estudios de la memoria

Abstract

Literature as an artistic narrative experience plays a social role that has changed over time in the history of humanity. Although its influence on the development of collective wills was able to reach a peak from the avant-garde of the twentieth century, the advent of a new century has made its motivating effect on changing the scales of values of a society or modifying behavior Of its individuals has diminished to the point of being almost imperceptible in contemporaneity due to factors such as the emergence of new technologies and the ubiquitous establishment of an economic system based on consumerism and a predominantly materialistic development model. From this point of view, a role of 'mirror', of 'evidence', of 'trace' of memory from the point of view of contributing to the creation of alternative scenarios of reflection on aspects and problems of each Community, in spite of suffering the gangrenous effect of submission to the dynamics of the market and the approach of themes and styles that respond only to the demand of consumer majorities, leaving the critical, controversial, countercultural, revolutionary or what to manifestations that end up thickening the section of the exotic, the different, the diverse, that like any product is also susceptible of being sold and accumulated by a literate portion of the great public. In this frame of thought, an analysis of the work El Camino en la sombra of the Bogota author Jose Antonio Lizarazo is established as evidence of the representation of the fear in the art and the way in which this feeling settled down in the Colombian society in the period between the end of the Thousand Days War (1899-1902) and the beginning of the era of violence (1948-1957), all based on the concept of collective memory.