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Textual Multiplicity Monografias A. Two of her novels, referential and testimonial in style, can be placed within the Mexican Revolutionary Novel tradition and explore the Revolutionary period and its consequences in the light of female experiences and perspectives. Her feminist works avoid facile simplifications; heterogeneous and dialogical, they interweave the historical and the fictional, the everyday and the fantastic.

Includes biblographical references and index. The Borders of Fiction and Reality. History from a Feminist Perspective. Myth, Magical Realism and Carnival. Shimmering Surfaces, Immeasurable Depths. I feel a special debt of gratitude to my academic supervisor and friend, who patiently guided me and inspired me with his wealth of knowledge.

I am especially grateful to Professor Peter Beardsell, former Professor of Hispanic Studies at the University of Hull, whose decisive encouragement, careful reading and constructive comments helped me transform my thesis into a book. I would also like to thank Peter for having led me to a sense of renewal by helping me to rediscover the pleasures of research and writing.

I am grateful to Dr John Morgan for his assistance with specific etymological information. Special thanks to my colleagues from the Spanish Section at the University of Kent for their support, and to Dr Montserrat Roser-i-Puig for her valuable contribution. I thank Professor Stephen M. Hart for believing in my work. I also wish to thank both Girton College at Cambridge University where I graduated inand the School of European Culture and Languages at the University of Kent, for their financial contribution towards the production costs of this book.

A heartfelt thanks to my beloved mother, Dr Claire Firth, who unselfishly offered her invaluable time and knowledge, and, of course, to all the members of my family who helped enormously with their untiring encouragement.

I am forever grateful to my husband, Dr Simon D. Cox, for his loving support, encouragement and constant interest in this project. She moved to Mexico City, following the death of her father Carlos Mastretta in His passing left a lasting effect on her and his influence on her writing emerged in her portrayal of strong paternal figures, as will be seen in this study.

She had a regular column, Del absurdo cotidiano, in the cultural review, Ovaciones, to which she contributed articles on politics and feminism.

Certainly her work has the advantage of being more accessible than that of her literary predecessors of the Boom generation and its engagement and warmth appeal to a wide variety of readers. Its main mouthpiece was the feminist magazine Fem, founded in Though she is not a militant feminist — indeed she often gives the impression of ambivalence where feminism is concerned — Mastretta is genuinely committed to promoting active female participation in social change, as emerges clearly in Mal de amores.

At three generations removed from the contemporary reader, the world of this text is populated by a series of aunts who appear to lead normal lives and to fulfil stereotypical roles and social norms of behaviour as expected in their milieu, but who are in fact sexually subversive. These stories, or vignettes, are notable for their lightness and frivolity: Mastretta uses laughter as a strategy for both criticism and liberation.

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Significantly, Mastretta was the first female writer to receive this award. But the novel is not merely — or even mainly — historical since the plot centres on personal passion and disillusionment in the revolutionary period. The protagonist is Emilia Sauri, whose upbringing, no less warm and indulgent for being unconventional and liberal, prepares her for her positive feminist contribution to the revolutionary struggle.

The plot traces her relationships with two men — based on passionate attachment for the first, and grateful affection for the other. El mundo iluminado, similar in tone, style and thematic concern to Puerto libre, was published in It offers an impressionistic account of love, death and nostalgia for the past written in a hybrid style combining the literary and the journalistic.

Greenwood Press,pp.

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Set in Mexico City in the early twentieth century, the plot centres on the frustrated love of a mastrett dancer, Isabel, for Javier Corzas, a poet and telegraphist. These short narratives centre on individual passion and romance, loyalty and friendship, unrequited love and loss, frequently arousing in the various characters an array of contradictory emotions.

Mastretta delves into her private thoughts about a variety of subjects that excite, interest, trouble and amuse the author: Some of the essays and short stories in Puerto libre, El mundo iluminado and El cielo de los leones have been published in the Mexican literary magazine, Nexos. Within Mexico, Mastretta is a well-known and popular figure, particularly in literary circles, but also with the general public.

She has made various appearances on Spanish and Latin American television as well as participating in the chat show La almohada in They live with their children descargxr Mexico City.

A proud and caring mother, Mastretta often refers to her children in her publications. As well as contributing a regular column Puerto libre to Nexos she frequently writes for international journals such as Die Welt and The Country. The critical period of the Mexican Revolution — left a deep impression on Mexican literature, and the Mexican Revolutionary Novel has clearly influenced Mastretta particularly in her use of neorealist, testimonial and journalistic techniques.

These novels offer a radical revisionist history of the Mexican Revolution and its aftermath, in the light of female experiences and perspectives, challenging patriarchal ideologies and seeking to redress gender imbalance.

Within the narrative structure of these novels the creative memory works to reshape the historic past, transcribing and re-transcribing the peculiar processes of female self-discovery. Chapter Two also offers a brief survey of twentieth-century Mexican literature, analysing in particular the canonical texts of the Mexican Revolutionary Novel. Throughout these two chapters, a comparative analysis of both works will be offered, for while both particularly the former have drawn 5 Showalter identifies three major phases in the historical development of women: All three stages are found in the works of Mastretta.

Virago,p.

Here the theme of female power and emancipation is frequently concomitant with sociohistorical and cultural change.

The peculiar nature of testimonial narrative as borderland discourse between the documentary and the fictional will be analysed in conjunction with the two main critical approaches to the Testimonial tradition associated with John Beverley and Elzbieta Sklodowska. The last few paragraphs of Chapter Four will focus on the diverse masttretta and techniques developed in Mal de amores. It may be argued that the apparent spirit of Monografias Ch Fitzroy Dearborn,p.

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State University of New York Press, Latin American Literature and Arts, 48 Spring14—17 p. Anuario de humanidades, 5: University of New Mexico Press,p. Nonetheless she has developed a unique style notable for descxrgar diversity which ranges from staid literary description reminiscent of the realist novel to racey fast-flowing narrative peppered with the colloquial and the descragar, typical of popular genres.

Mastretta takes pride in belonging to a family of storytellers. Grant and Cutler,p. Routledge,p.

State University of New York Press,p. Cambridge University Press,p. As we will see desxargar Chapters Six and Seven, the excesses of the female body, which is fluid and multiple, become a ajores for the excesses of the textual body. Mastretta has often spoken of her passion for words and their sounds, which enable her not only to express the suffering of a nation in political turmoil, but also permit her to engage in carnivalesque discourse.

Amstretta her style is perhaps less innovative and experimental than some of her female contemporaries such as Elena Poniatowska, Mastretta clearly belongs to the tradition of the Latin-American Post-Boom writing. Typical of Mastretta and of Post-Boom writing in general is the gravitation towards the anecdotal, and towards plot-centredness and chronological structure, which provide for greater accessibility than did the typical Boom novel.

The appreciation of her writing does not depend upon mastgetta sophisticated literary competence 14 For an insightful analysis on such writing, see Barbara Harlow, Resistance Literature London: Postmodern narrative views language as a means of communication by stressing linguistic texture through techniques such as etymological word play. Postmodernism, unlike modernism, undermines monological meaning, and proposes plurivocity in its place.

However, critics should be cautious when applying European and North American critical concepts to Latin American writing.

Mal de Amores [Lovesick] (Texto Completo) (Unabridged)

Postmodernism, like feminism and magical realism, has lost much of its critical focus through excessive and often indiscriminate use. A Review of Contemporary Criticism, The mastretts chapter highlights the influence of European theorists such as Gadamer and Ricoeur on Latin American writing. Duke University Press,p. Ediciones del Norte,pp.

Postmodern feminism, through its double-edged discourse, postulates a radical critique of master narratives. It ultimately serves as a powerful discourse for the marginal and repressed.

Like postmodern feminists, Mastretta criticizes totalizing structures such as History and celebrates Otherness and those repressed discourses relating to the female body and sexuality. Feminism, the most radical language of postmodernism, assumes a peculiar resonance in the context of Latin America where women have been doubly marginalized, both in terms of class and gender and even today remain largely marooned on the periphery. Tamesis,pp.

Mal De Amores ( Angeles Mastretta)

University of Minnesota Press,p. Also see Monografias Ch Feminists like Mastretta challenge social ideas and injustices as well as the structures upon which they are based, the discourse in which they are thought.

It began in when feminist criticism took two theoretical directions: Clarendon Press,pp. Essays on Postmodern Culture New York: The New York Press,p. Gender Politics and the Avant-Garde Cambridge: Harvard University Press,p. See also her Gynesis: Configurations of Woman and Modernity, 4th edn Ithaca: Cornell University Press, Amres Helmpp.

For Alice Jardine Diacritics, p. Unlike French feminism, they do not see any essential differences separating male from female Monografias Ch