Beyond repair? : Mayan women's protagonism in the aftermath of genocidal harm

Bibliographic Information

Beyond repair? : Mayan women's protagonism in the aftermath of genocidal harm

Alison Crosby and M. Brinton Lykes

(Genocide, political violence, human rights series)

Rutgers University Press, c2019

  • : pbk

Available at  / 2 libraries

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Note

Includes bibliographical references and index

Description and Table of Contents

Description

Winner of the 2021 Raphael Lemkin Book Award from the Institute for the Study of Genocide Honorable Mention, 2020 CALACS Book Prize Beyond Repair? explores Mayan women's agency in the search for redress for harm suffered during the genocidal violence perpetrated by the Guatemalan state in the early 1980s at the height of the thirty-six-year armed conflict. The book draws on eight years of feminist participatory action research conducted with fifty-four Q'eqchi', Kaqchikel, Chuj, and Mam women who are seeking truth, justice, and reparation for the violence they experienced during the war, and the women's rights activists, lawyers, psychologists, Mayan rights activists, and researchers who have accompanied them as intermediaries for over a decade. Alison Crosby and M. Brinton Lykes use the concept of "protagonism" to deconstruct dominant psychological discursive constructions of women as "victims," "survivors," "selves," "individuals," and/or "subjects." They argue that at different moments Mayan women have been actively engaged as protagonists in constructivist and discursive performances through which they have narrated new, mobile meanings of "Mayan woman," repositioning themselves at the interstices of multiple communities and in their pursuit of redress for harm suffered.

Table of Contents

Contents List of Abbreviations Introduction 1 Documenting Protagonism: "I can fly with large wings" 2 Recounting Protagonism: "No one can take this thorn from my soul" 3 Judicializing Protagonism: "What will the law say?" 4 Repairing Protagonism: "Carrying a heavy load" 5 Accompanying Protagonism: "Facing two directions" Conclusion Acknowledgments Notes References Index

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