Small, Medium, Large, Extra-Large

序幕 曾经，一座城市被分割成两部分。 一部分成为了“好的一半”，另一部分则成为了”坏的一半“。 ”坏的一半“的居民开始涌向”好的一半“，这迅速地发展成一场城市逃亡（urban exodus） 如果这种情况不被制止，那么”好的一半“的人口将翻倍，而”坏的一半“将变成幽灵城市。 在所有试图阻止这种恶性移民的尝试都失败后，坏政府用极端而粗暴的方式使用了建筑：他们建造了一道墙，将好的那部分城市围住，使移民完全无法接近。 这道墙是一个杰作。 起初，不过是一些可怜的铁丝网突然出现在那条想象的边界线上，它在心理和象征性上形成的影响力远大于实体。 ”好的一半“，现在只能跨过森严的障碍物站在令人痛苦的距离之外被遥望，变得更加不可抗拒。 这种受困，留在灰暗的”坏的一半“，发酵成对于无效的逃亡计划的痴狂。绝望笼罩了墙的另一边。 而在这段历史以前，建筑就常常是罪恶的制造绝望的工具。

Throughout this study, I have sought to identify moments in which modern urban scenes do not erase, but rather stage literary, cinematic, and spatial narratives of memory in the post-dictatorial Southern Cone. In the process, I intended to demonstrate that memory remains a vital aspect of everyday life and, therefore, continues to imprint the cityscape beyond those sites designated as official memorials. The works I have analyzed in this study demonstrate that memoryscapes recur among those landscapes previously dissociated from remembrance: places of transit and uniformity, repurposed places, entire cities on the brink of ruin. Emergent memoryscapes suggest complementary efforts to work through memories of the past and to understand with greater clarity its influence on the present, since space becomes a medium through which to articulate memory. As a consequence, those places most emblematic of the legacy of the Southern Cone dictatorships—places symbolic, more generally, of international commerce, mobility, and modernity—provide a staging ground for articulating memory.