Ambiguity and gender in the new novel of Brazil and Spanish by Judith A. Payne

By Judith A. Payne

During this first book-length examine to match the hot novels of either Spanish the USA and Brazil, the authors deftly study the differing perceptions of ambiguity as they follow to questions of gender and the participation of women and men within the institution of Latin American narrative versions. Their bold thesis: the Brazilian new novel built a extra radical shape than its better-known Spanish-speaking cousin since it had a considerably diverse method of the an important problems with ambiguity and gender and since such a lot of of its significant practitioners have been women.As a sensible procedure for assessing the canonical new novels from Latin the United States, the coupling of ambiguity and gender allows Payne and Fitz to debate how borders--literary, typical, and cultural--are maintained, challenged, or crossed. Their conclusions light up the contributions of the hot novel by way of experimental buildings and narrative strategies in addition to the numerous roles of voice, topic, and language. utilizing Jungian conception and a poststructural optic, the authors additionally reveal how the Latin American new novel faces such common matters as fable, time, fact, and fact. possibly the main unique point in their examine lies in its research of Brazil's powerful woman culture. the following, concerns comparable to substitute visions, contrasexuality, self-consciousness, and ontological hypothesis achieve new that means for the way forward for the radical in Latin America.With its comparative procedure and its many bilingual quotations, a"Ambiguity and Gender within the New Novel of Brazil and Spanish America"aoffers an interesting photograph of the marked transformations among the literary traditions of Portuguese-speaking and Spanish-speaking the US and, hence, new insights into the detailed mindsets of those linguistic cultures."

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Sample text

But Clarice Lispector is the acknowledged master of the experimental fiction of the sixties" (998). In the 1966 essay, Rodríguez Monegal devotes a section of commentary to João Guimarães Rosa, whose Grande Sertão: Veredas (1956), along with Juan Rulfo's Pedro Páramo (1955), mark for him the beginning of the boom. Of the six novelists mentioned, three are Brazilian women (Barroso, Piñon, and Lispector). Although quick to recognize women's achievements in the Brazilian new novel, Rodríguez Monegal, when writing of its Spanish American counterpart, deals almost exclusively with the work of men.

Thus, because the Brazilian new narrativists were simply continuing an evolutionary process already underway for nearly a century, the advent of their new novel was not as anomalous an event as it was in Spanish America. The sense that its new novel was an altogether new thing was thus much less keen in Brazil, where there was a flourishing tradition of iconoclastic and radically experimental precedents, such as Machado de Assis's As Memórias Póstumas de Brás Cubas (1880), Raul Pompéia's O Atenéu (1888), Euclides da Cunha's Os Sertões (1902), Mário de Andrade's Macunaíma (1928), Oswald de Andrade's Memórias Sentimentais de João Miramar (1924) and Serafim Ponte Grande (1933), Patricia Galvão's Parque Industrial (1933), Ciro dos Anjos's O Amanuense Belmiro (1937), Clarice Lispector's Perto do Coração Selvagem (1944), Dinah Silveira de Queiroz's Margarida La Rocque (1949), Lygia Fagundes Telles's Ciranda de Pedra (1954), and Lúcio Cardoso's Crônica da Casa Assassinada (1959).

Although both the Spanish American and the Brazilian new novel were technically innovative, only the Brazilian model offered an alternative vision of such issues as gender, narrative voice, and identity. Although undoubtedly historical and cultural forces beyond the scope of this study are involved, we believe that the primary explanation for this surprising approach to gender issues stems from Brazil's literary history, which, though similar in general outline, differs from Spanish American literary history in several important ways.

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