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Angles on otherness in post-Franco Spain: the fiction of by Jessica A. Folkart

By Jessica A. Folkart

This learn examines the reconstruction of id within the context of post-totalitarian Spain and, extra commonly, of postmodern Western tradition. this can be the 1st booklet focussing at the fiction of influential author Cristina Fernandez Cubas. It argues that Fernandez Cuba's illustration of the mediation of id continually destabilizes the bounds of subjectivity via underscoring the ambiguity of difference/duality.

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Yet the editor of the text questions the viability of such an endeavor: “NOTA DEL EDITOR: Estos papeles, dispersos, deslavazados y ofrecidos hoy al lector en el mismo orden en que fueron hallados (si su disposición horizontal en el suelo de una granja aislada puede considerarse un orden), no llevaban firma visible [. ]” [EDITOR’S NOTE: These papers, dispersed, barely legible, and offered today to the reader in the same order in which they were found {if their horizontal arrangement on the floor of an isolated farmhouse can be considered an order}, did not bear any visible signature {.

I didn’t know what to do and I repeated the scene without much conviction. ” {. ”8 Bewildered by the language of this theatrical world, this neophyte cannot play his scene with conviction. Tomás’s or Olla’s language does not relate in any apparently “logical” way to the protagonist’s. Its radical alteration takes the discursive rupture of “arroyo,” uttered by the possibly “insane” Violeta in the first story of this collection, to greater extremes of dissonance: El lenguaje que había aprendido Tomás [.

In all her works, Fernández Cubas investigates discursive constructs of the self imposed by society and explores ways in which the subject can exercise agency. Key to this endeavor is her examination of the struggle for power between individuals in their efforts to define themselves, as they play out their attractions and repulsions to difference in one another. Whereas power constitutes a significant motif in all her texts, the release of Mi hermana Elba in 1980 foregrounds the dynamic at a key point in Spain’s political and cultural evolution.

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