Subjectivity cartographies in the novels La mujer desnuda (1950) and Viaje al corazón del día (1986) by Armonía Somers (1914-1994)
In this article, I intend to explore the construction of literary subjectivities in the first and in the almost last novel by the Uruguayan writer Armonia Somers (1914-1994), based on the mapping of contingent subjective cartographies that articulate the visual and linguistic language. The objective...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Humanidades y Artes. UNR
2020
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| Acceso en línea: | https://zonafranca.unr.edu.ar/index.php/ZonaFranca/article/view/141 |
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| Sumario: | In this article, I intend to explore the construction of literary subjectivities in the first and in the almost last novel by the Uruguayan writer Armonia Somers (1914-1994), based on the mapping of contingent subjective cartographies that articulate the visual and linguistic language. The objective is to consider how the “delusional subjectivities” (Guattari, 1986) that Somers manufactures have the potential to undermine the dominant subjectivity of each of the narrative universes and, on the other hand, consider to what extent the plasticity of the characters elaborates a mobile identity map. The characters transform themselves into new positions in relation to gender, desire, morality, and religion, and then, it is possible to consider how, based on the idea of Judith Butler of “rethinking what is possible as such” (1990 [2007: 24]), new forms of identity are enabled, which escape (at least momentarily) of the repressive forms of power. |
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