33 research outputs found
De palabras y cuerpos silenciados: representaciones de Eco en la poes铆a de Marlene Nourbese Philip
El doble de la palabra. El mito de Eco en la literatura inglesa contempor谩nea
This article explores the figure of Echo in contemporary English literature focusing on works by A.S. Byatt, Timberlake Wertenbaker, Nicole Ward Jouve and Moniza Alvi among others. After an introduction on the secondary literature published on the nymph, Echo is analyzed under the perspective of opposites such as self/other, metropolis/colony, word/silence in poetry, theatre and short stories. Considered en masse, the works discussed in this article manifest how the reception of Echo is closely linked to the concept of the double in Western cultures.El objetivo de este art铆culo es el estudio de la figura de Eco en la literatura contempor谩nea escrita en lengua inglesa a partir de trabajos de A.S. Byatt, Timberlake Wertenbaker, Nicole Ward Jouve y Moniza Alvi entre otros. En poes铆a, teatro y relatos cortos, analizamos a Eco primero desde la literatura cr铆tica publicada sobre la ninfa y posteriormente desde la perspectiva de oposiciones binarias uno/otro, metr贸polis/colonia, palabra/silencio. Consideradas en conjunto, las obras revisadas en este art铆culo demuestran c贸mo la recepci贸n del mito en la literatura contempor谩nea se encuentra estrechamente ligada a la evoluci贸n del concepto del doble en la cultura occidental
El mito de Eco y la escisi贸n del sujeto. Representaciones del silencio en Echo's Bones de Samuel Beckett
Escribiendo a Casandra: personajes dram谩ticos en la narrativa contempor谩nea
Christa Wolf鈥檚 Cassandra is the landmark for refigurations of the
Cassandra myth in the contemporary novel. Yet close to its date of publication,
Ursule Molinaro (1979), Christine Brooke-Rose (1984) and Hilary Bailey (1993)
published their own novelistic reworkings of the Cassandra myth. The presence
of the Cassandra myth in the British novel is in contrast with the fruitful
reworkings of the Trojan princess in poetry and drama. From the nineteenth
century onwards, refigurations of Cassandra in prose writings in English range
from the feminist essay to the novel of customs and the fin-de-si猫cle New
Women utopias. Works such as Florence Nightingale鈥檚 Cassandra, for example,
show how the words of Priam鈥檚 daughter can be adapted to social vindications
and develop into an obscure discourse which results in Broke-Rose鈥檚
postmodernist deconstruction. This chapter seeks to analyze Cassandra鈥檚
prophetic language in the three novels in contrast with other refigurations of
the myth in English which reveal the cultural processes behind the
construction of the narratives
New Woman and New Electras: Approaches to Classical Mythology in Victorian Burlesque Theatre.
This paper seeks to analyze Francis Talfourd鈥檚 Electra in a New Electric Light (1859) as related to the Victorian stereotype of the strong-minded woman. After a brief introduction on the links between nineteenth-century burlesque and the social history of women in Victorian times, I shall focus on the figure of Electra as epitome of late nineteenth-century representations of New Women. El objetivo de este trabajo es el estudio de Electra in a New Electric Light (1859) de Francis Talfourd a partir del estereotipo victoriano de la strong-minded woman. Para ello, tras comentar la relaci贸n existente entre el teatro burlesco decimon贸nico de tema cl谩sico y la historia social de la mujer a lo largo del siglo, nos centraremos en la figura de Electra, y en c贸mo, acompa帽ada de otras hero铆nas cl谩sicas, anticipa la representaci贸n de la Nueva Mujer de finales de siglo
The Voice of Cassandra: Florence Nightingale's Cassandra (1852) and the Victorian Woman
In an undated letter to her sister Parthenope (c. 1844), Florence Nightingale wrote:"What is life? It cannot be merely a gaining of experience it is freedom, voluntary force, free-will, & therefore must be a hard fought battle in order to make a choice, there must be evil & good to choose from" (Vicinus & Nergaard 1990: 25). As a victim aware of the social constraints that Victorian women had to tackle in their development as independent citizens, Nightingale fought for further education, for a life outside marriage and for the establishment of midwifery as a respected profession. In such a gallant endeavour, the most passionate battle which she undertook was to acquire a voice which would enable her to make her own choices and be heard and considered both in the public and private spheres of her time
Gerardo Rodr铆guez Salas. 2009. Katherine Mansfield: el posmodernismo incipiente de una modernista renegada. Madrid: Editorial Verbum. 280pp.
Mythic Women in Victorian England: Cassandra and Florence Nightingale
[Abstract] This paper seeks to examine the transmission of Cassandra in Victorian England as a prelude to subsequent reworkings that consider the myth the epitome of the silenced discourse of women. Florence Nightingale鈥檚 relation to the Cassandra myth both in her personal life and in her essay Cassandra (1852) configures the heroine as a model to the vindication of the rights of women. Modern constructions of the myth read it as an archetype of the appropriation of the patriarchal discourse by gender minorities
The Double of the Word. The Myth of Echo in Contemporary English Literature
This article explores the figure of Echo in contemporary English literature focusing on works by A.S. Byatt, Timberlake Wertenbaker, Nicole Ward Jouve and Moniza Alvi among others. After an introduction on the secondary literature published on the nymph, Echo is analyzed under the perspective of opposites such as self/other, metropolis/colony, word/silence in poetry, theatre and short stories. Considered en masse, the works discussed in this article manifest how the reception of Echo is closely linked to the concept of the double in Western cultures
芦The Devil is in the house禄: Theatrical depictions of strong-minded women in Victorian England (1850-1895).
Son abundantes los ejemplos de strong-minded women como personajes teatrales en la tradici贸n victoriana desde la d茅cada de 1850. Este hecho coincide en el tiempo con un empleo espec铆fico del t茅rmino para referirse, de forma peyorativa, a la mujer tipificada que desaf铆a los valores tradicionales de la segunda mitad del siglo XIX. Los estudios de caso que presentamos en este art铆culo revelan c贸mo un an谩lisis minucioso de la construcci贸n cultural de la strong-minded woman en calidad de personaje teatral permite dibujar una cartograf铆a de la historia art铆stica de la 芦cuesti贸n femenina禄 en la escena victoriana como espejo de los estereotipos sociales del momento. El art铆culo demuestra c贸mo el t茅rmino <strong-minded woman se convierte en un topos recurrente de la escena en las d茅cadas de 1850 a 1870 que ampl铆a el n煤mero de personajes femeninos tipo en el teatro como precedente de la New Woman finisecular.Examples of strong-minded women on the Victorian stage abounded
from the 1850s. This coincides in time with a specific use of the term which
pejoratively refers to a typified woman who challenges traditional values in the
second half of the nineteenth century. The cases of study that I present in this
article reveal how a close examination of the strong-minded woman as a
theatrical role allows theatre historians to map the aestheticized history of the
Woman Question on the Victorian stage as a mirror of the social stereotypes of
the time. As I shall contend, the theatrical strong-minded woman is a recurring
topos which widens the scope of stock female characters available on stage
between the 1850s and the 1870s as a precedent for the New Woman