By Isabel Capeloa Gil, Adriana Martins

Plots of conflict: sleek Narratives of clash discusses the dynamics of switch and transformation that underlie the stricken undertaking of modernity and indicates how deeply it's been formed by means of battle and violence. The narrative of struggle, the emplotment of violence in old and commonly in symbolic phrases, is deeply embedded within the development of person and collective stories, however it additionally is helping to form the mediation of destiny conflicts.What is finally at stake here's the advanced figuration and mediation of the violence of struggle in ever extra hyper-mediated methods with direct effects to the creation of identities and methods of cultural reminiscence.

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The book is compelling and a complex composition. There is a framework story, and a sequence of other stories is inserted within, with a style that is reminiscent of oral narrative. The framework story is pivoted on a memory shortcoming. The heroine, after a long stay in Italy for a scholarship, in the nineties, goes back to Ethiopia for the funeral of one of the elderly of her family to whom she, as a child, was deeply attached. The elaboration of the mourning, however, turns out to be extraordinarily difficult.

Nevertheless, historians approaching the matter argue that military and civil officers, who prevented access to documents, played a significant role and thereby acted as real ‘agents of oblivion’ (Del Boca 1992; Labanca 2002). I do not mean that colonial memory was completely absent. Some memoirs have been produced; some felt regret for the lost colonies; left-wing parties sometimes brought the matter up on the occasion of several international events. Even if the debate was poor, some results were achieved thanks to the pressure exerted by some parties: in 1997, the then President of the Italian Republic, Scalfaro, asked forgiveness to Ethiopia for the suffering inflicted by the Italian occupation and committed the Italian government to returning the Obelisk of Axum (the return, extravagantly defined as ‘a gift’, was actually effected in 2005).

But the rising dominance of the ‘pact of silence’ on the socio-political level confined this phase in Spanish filmmaking to only a short duration (Albersmeier 1992: 57).

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