Abstract
number of prominent Argentine works make use of the cardinal point South in their titles to describe the nation or some aspect of it: the short story sur (1944) by Jorge Luis Borges, the film Hombre mirando al sudeste (1986) directed by Eliseo Subiela, and the film (1988) directed by Fernando Solanas, all feature Argentina generically as the South. Likewise, Historia de una pasion argentina (1940) by Eduardo Mallea constan tiy alludes to el Sur1' on its pages to denote Argentina. These are but a few examples of how notions of country and geographical space have been linked in Argentine film and literature. This is also true in Roberto Cossa's theatrical piece El y despues (1987). In addition to notions of spatiality (el Sur), Cossa experiments with temporal dimensions (despues/ after or later) as he pieces together disparate individual histories in an attempt to distill and produce a (re) collection of Argentina's past.1 This essay will argue that Cossa's term el Sur is a purposely imprecise definition and/ or concept that allows him the freedom to define the nation through both a creation and recreation of individual histories and official History. This (re)viewing of the past was necessary in the post-dictatorship democracy because of the aftermath of the national tragedies of the disappearance of tens of thousands of citizens by a corrupt and conservative military government in power from 1976-1983. As part of the Proceso de Reorganizacion Nacional (Process of National Reorganization), Argentine citizens were kidnapped, tortured, and often killed for their so-called subversive beliefs or actions. The after-effects or
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