Disidencias en la literatura y cine latinoamericano y peninsular
Description
This dissertation examines dissidences in Latin American and Spanish Literature and Cinema. It analyzes dissidence as a rupture with mainstream views of writing, socio-political tendencies and traditional gender patterns In Chapter I, I study Clarice Lispector's Agua viva (1971) and its dissent with what is called ecriture feminine and 'escrotura' or male writing. I examine Lispector's writing as a representation of a written structure and style that cannot be categorized in neither of the two groups, and how she creates an androgynous text in relation to the deleuzian theory of the body without organs In Chapter II, I analyze two post-civil war Spanish novels: Carmen Laforet's Nada (1943) and Ana Maria Matute's Primera memoria (1955) in relation to the social dissidence. Both novels dismantle the moral bastions of Franco's Spain: nation, family and religion using the intertextuality with the sacred texts and the fairy tales to mock the strict moral values of Franco's dictatorship In Chapter III, I examine the Brazilian film Eu,tu,eles (2000) as an example of dissidence of gender patterns in relation with the lacanian theories of female sexual pleasure. Andrucha Waddignton represents a woman from the Brazilian sertao, who breaks with all the conventions of 'femininity' in a historical patriarchal society In Chapter IV, I look at Luisa Valenzuela's El gato eficaz (1972) as a gaze of all the three dissidences observed in this dissertation. This work ties together written, social and gender patterns dissidences showing a text that impedes labeling as a text. Also it comes across the social dissidence during the so-called Argentinean dirty war, and how the female body as a site of subversion resists as the last mainstay that individuals had