Comme de l'eau dans l'huile: l'éducation et le mariage dans les récits algériens écrits par des femmes

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títuloComme de l'eau dans l'huile: l'éducation et le mariage dans les récits algériens écrits par des femmes
fecha de publicación28.06.2015
tamaño31.58 Kb.
tipoDocumentos > Literatura > Documentos


Comme de l'eau dans l'huile: l'éducation et le mariage dans les récits algériens écrits par des femmes

Florina Matu 13

Abstract. This article discusses the incompatibility between personal happiness as an educated woman and the role of wife for the female protagonists in the writings of Maïsa Bey, Assia Djebar and Leïla Aslaoui, three Algerian writers for whom identity and female subjectivity play a central role. The Algerian society before and after the Independence is portrayed through the eyes of women authors and includes the analysis of shame and guilt, using cultural and psychological criteria specific to Islam.

A Reconsideration of the Domestic in GDR Literature

Christine Rinne 23

Abstract. Short stories published in the German Democratic Republic in the 1970s and early 1980s by Renate Apitz, Elfriede Brüning, Sarah Kirsch, and Dorothea Kleine, demonstrate that the processes of producing, disseminating, and consuming state-sanctioned knowledge inevitably permeate the porous boundaries between domestic life and the public sphere. Unpredictable consequences test the limits of personal relationships and the protection offered by the private sphere. Consequently, citizens are compelled to react to the unexpected state intrusion, and reevaluate the nature and source of private knowledge.

Birds, Butterflies, and Mercury’s Feathered Feet: Women and Winged Symbols in Fernán Caballero’s Clemencia

Leslie Maxwell Kaiura 39

Abstract. In Clemencia (1852), Fernán Caballero uses the familiar symbol of the caged bird to represent the confinement of the novel’s eponymous protagonist, but she also develops the symbolism of the bird and other winged creatures in order to express her views on proper femininity and to reflect Clemencia’s rise to the pinnacle of Spanish womanhood. Winged symbols serve multiple functions in the text, emphasizing Clemencia’s sterling qualities in the various stages of her life, highlighting the inadequacy of her feminine foils, and representing Clemencia’s relationships, both positive and negative, with the men in her life.
Coming of Age in Maite Agirre’s Bilbao: Lauaxeta, tiros y besos and Teresa Calo’s El día en que inventé tu nombre

Barbara Foley Buedel 59

Abstract. When innocence is lost through sexual experience and the horrors of war, the characters in BILBAO: Lauxeta, tiros y besos attempt to regain it through self-imposed blindness and a retreat into fantasy. In El día en que inventé tu nombre, innocence is lost when an adolescent elects to use violence to fight for Basque independence. As a postmodern drama and a neo-realist play, they differ significantly in their use of memory as a narrative device. Nevertheless, unlike the typical bildungsroman, both use coming-of-age stories to portray the profoundly troubled presents of their adult characters.
Spanish American
Picking Up the Tracks: The Impact of Carpentier’s Los pasos perdidos on Postboom Perceptions of US Culture.

Alex Holland 73

Abstract. Many thematic and structual elements found in Postboom writing can be traced to Alejo Carpentier’s Los pasos perdidos (1953). Specifically, the portrayal of United States culture in novels by Isabel Allende, Fernando del Paso, José Donoso, and Luisa Valenzuela closely parallel that in Carpentier’s proto-Boom novel. This can be attributed to the writers’ common postcolonial attitude, as well as their engagement with what can be called hemispheric allegory. In which romantic relationships between the lead characters stand for the relationship between Latin America and the United States.
Una lectura transatlántica en Un verano en Tenerife de Dulce María Loynaz.

Humberto J. López Cruz 89

Abstract. This essay explores the nature of transatlantic connections within the Spanish-speaking literary community. Authors on both sides of the Atlantic cannot affirm their national identities without at the same time acknowledging and negating the middle that connects them. Un verano en Tenerife (1958), by Dulce María Loynaz, asserts an awareness that succeeds in bringing the two shores together.


Apostillas a “La imagen histórica" de José Lezama Lima

Rita Martin 101

Abstract. This study, focused on Lezama’s essay “La imagen histórica” (1959), establishes its connection to two earlier adumbrations of his concept of imprecisa precisión: “Las imágenes posibles” (1948) and “Sierpe de don Luis de Góngora” (1951). At the same time it locates Lezama’s references in the context of his ambivalence regarding heterogeneity versus homogeneity; and it contributes to the discussion of Lezama’s poetic system by establishing four possible connections defined by the writer in his essays and interviews: la ocupatio, la vivencia oblicua, el súbito, and el método hipertélico.

Lezama Minotauro

Javier Fornieles Ten 115

Abstract. Lezama´s work, unclassifiable, unique, a fusion of erudition and creativity, is a journey through his readings, through his endless reading marathons in his personal library. The route, with its difficulties and challenges, like the Cretan labyrinth where the Minotaur lived, is essential to understanding the development of an author who revolutionized literature in works such as Paradiso, a comprehensive work with sources as disparate as the Bible, poetry, narrative, and essays.
Apuntes sobre el ensayo de José Lezama Lima

“Las eras imaginarias: Los egipcios”

Aída Beaupied 133

Abstract. Although they are present from the beginning of Lezama’s writings, Egyptian motifs are more abundant during the last years of his life. His essay “Las eras imaginarias: Los egipcios” is thus esential to our understanding of his creative project. In this essay we observe Lezama’s effort to trace the history of poetry, from the imaginary era of the ancient Egyptians to the beginnings of Christianity. Some of his references to Egyptian art, especially his disagreement with art historian Wilhelm Worringer, allow us to speculate about his personal and political opinions during the second decade of the Cuban revolution.
La odisea de descubrir las lomas, cavernas y torbellinos del “Prólogo a una antología”

María A. Salgado 141

Abstract. In the “Prólogo” to his anthology of Cuban poetry, Lezama traces his personal exploration of the origins of cubanía, or—what is the same—Cuban poetry. This essay follows the unusual paths traveled by the poet through the Cuban land -and seascapes, culture, and literature in his imaginative search for the essence of cubanía.
Lezama, lector múltiple de Rayuela

César A. Salgado 153

Abstract. This article considers the evolution of Lezama´s critical appreciation of Julio Cortázar’s novel Rayuela (1962), from his first guarded comments on the novel in a Havana round-table discussion to the enthusiastic yet dense and hermetic interpretive essay that served as preface to the 1968 Casa de las Américas edition of Cortázar’s masterpiece. It is also an exegesis of the latter essay, drawing cues and clues from the Lezama-Cortázar correspondence in the 1960s in order to explain how Lezama sees symbols such as the labyrinth and effects such as “anthropophany” (the revelation of the divine in the human) operating in the novel.
Piñera epistolar: algunos puntos sobre las íes

Jesús Jambrina 163

Abstract. This essay explores the ethical-literary epistolary debate that Virgilio Piñera engaged in with Lezama and with Jorge Mañach and Gastón Baquero. An examination of these letters allows us to place the author’s work at a moment of great poetic and narrative production during the 1940s, and at the same time to investigate his general principles concerning artistic creation and politics. In these letters we see Piñera caught up in the intellectual currents of his time and in the dialogue with his contemporaries that helped shape his own creative project.
Simulation, Gender, and Nature in Sarduy: Lezama’s Neobaroque, Baudrillard’s Simulacra, Butler’s Performance and Ecology

Alicia Rivero 177

Abstract. By linking the neobaroque, simulation, gender, and nature, Sarduy’s La simulación and his fiction question ontological and epistemological facets of reality and representation involving issues such as the gendered self, discourse, art, and non-human nature. The relationship between his simulations and Lezama’s suggests comparison with Baudrillard’s Simulacres et simulation, and his notion of gendered performance suggests a comparison with Judith Butler.

José Lezama Lima y el cuerpo sexualizado

Alberto Garrandés 195

Abstract. This study examines the relation between aesthetics and sexual urges in Lezama´s novel Paradiso. Starting with a brief look at the mythological symbolism of the Cuban poet, it offers a deconstruction of the homoerotic, polysexual, bisexual, or simply sexual body, and helps demonstrate how this body, in Lezama’s work, assumes aesthetic and carnivalesque proportions at the same time.
El legado origenista: poesía y amistad

Josefina de Diego 203

Abstract. “El legado origenista” is a memoir about the friendships among the group associated with the magazine Orígenes, including quick sketches of the relations among Lezama, her father, Eliseo Diego, and other members of the group. These sketches offer a clearer and more human portrait of this group by means of excerpts from their letters, reciprocal dedications of their books, and playful games. All of this is remembered from one place, the now famous “Villa Berta,” the meeting place for the origenistas in republican Havana.


To Sing or Not to Sing: Do Songs Have a Place in the College-Level Foreign Language Classroom?

Stacey Beth-Mackowiak Ayotte 213

Abstract. In a French phonetics course, songs can be great resources for helping students understand the prosody of the target language. Because songs are repetitive, specific sounds may be produced several times, giving students multiple opportunities to listen to target sounds. Results of a study showed statistically significant differences from pretest to posttest, and the students felt that they benefited from the inclusion of songs and singing in class.


El Bar Roco

Carlos Rubio Albet 235

Cantinflas al rescate

John Knowles 245


Barraza Toledo, Vania. (In)Subordinadas: raza, clase y

filiación en la narrativa de mujeres latinoamericanas

Ana Corbalán 253
Borges Accardi, Millicent. Injuring Eternity

Luis Gonçalves 256
Dovalpage, Teresa. The Astral Plane:

Stories of Cuba, the Southwest and Beyond

Michele Shaul 259
Lorenzo Fuentes, José. Las vidas de Arelys

Armando Añel 260
Márquez Rodríguez, Alexis. Alejo Carpentier: teoría y

práctica del barroco y lo real maravilloso

Andreína Ledezma 262
Sánchez Prado, Ignacio M. Naciones intelectuales: las

fundaciones de la modernidad literaria mexicana


Oswaldo Estrada 265
Cella, Susana, Gabriela País, et al. Imágenes, poéticas y

voces en la literatura argentina: fundación e itinerarios

María Cristina Fellie 267

Vera Tudela, Elisa Sampson. Ricardo Palma’s

Tradiciones. Illuminating Gender and Nation

Beatriz Lomas-Lozano 272


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