By Susan E. Carvalho
Area is necessary to imaginitive writing. As English novelist Elizabeth Bowen has saw: 'nothing can take place nowhere'. This ebook deals an interdisciplinary framework for examining novels, and specifically women's fiction in Spanish the US, with a spotlight on geoplot, on house instead of time because the narrative engine. Following the paintings of Lefebvre and Friedman, the writer examines contemporary works by means of Spanish America's so much noticeable girls novelists - Angeles Mastretta (Mexico), Isabel Allende (Chile), Rosario Ferré (Puerto Rico), Sara Sefchovich (Mexico) and Laura Restrepo (Colombia) -and the ways that their woman protagonists problem the spatial obstacles erected through capitalist hegemony. Margins, borders, liminal areas, the chora-space, and the physique are emphasised as strength websites of transgression. The research identifies spatial negotiation as a mechanism either for cementing and for undermining authority, hence exposing the options during which literature constructs and represents strength. SUSAN CARVALHO is affiliate Professor of Hispanic experiences on the college of Kentucky, and Director of the Middlebury collage Spanish institution.
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Additional resources for Contemporary Spanish American Novels by Women: Mapping the Narrative (Monografias A) (Monografias A)
349). 22 SUSAN E. CARVALHO ‘Inevitably such resistance or counter-action will tend to strengthen or create independent territorial entities capable to some degree of self-management. Just as inevitably, the central state will muster its own forces in order to reduce any such local autonomy by exploiting isolation and weakness’ (p. 382). Nonetheless, Lefebvre sees the continuation of this local resistance as the only possible path before the inexorability of capitalist expansion, and he thus urges ‘counterplans and counter-projects designed to thwart strategies, plans and programmes imposed from above’ (p.
140. 36 SUSAN E. CARVALHO tions with particular geographic representations, but they do not expose hitherto unseen dimensions of the novel’s discursive tactics or see the representation of space as part and parcel of the novel’s constructive engine. In fact, the novel’s use of space is an element which most firmly links the work to a specific time and place, as it reflects an entire structure of social relations which undergirds plot, characterization, and theme. Lutwack, in gauging the varying importance of space to literary works, postulates as an example that ‘Fielding’s Tom Jones is not at all influenced in his behavior by the places he happens to be in’ (p.
Foucault’s work on domination through spatial control included considerations of the body that continue to undergird corporeal theory. Two of his observations in particular have merited comment from feminist scholarship. One, cited by Susan Bordo in her groundbreaking study of female embodiment, Unbearable Weight: Feminism, Western Culture, and the Body, is the idea that external control of bodily formation – and thence identity – is not necessary as the primary means of social control, because the mechanisms of assessment are so deeply internalized that self-surveillance and self-correction, to the point of self-destruction, take over the task of controlling the female body in particular (p.
Contemporary Spanish American Novels by Women: Mapping the Narrative (Monografias A) (Monografias A) by Susan E. Carvalho