Angles on otherness in post-Franco Spain: the fiction of by Jessica A. Folkart

By Jessica A. Folkart

This research examines the reconstruction of id within the context of post-totalitarian Spain and, extra extensively, of postmodern Western tradition. this is often the 1st ebook focussing at the fiction of influential author Cristina Fernandez Cubas. It argues that Fernandez Cuba's illustration of the mediation of id regularly destabilizes the boundaries of subjectivity by means of underscoring the anomaly of difference/duality.

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Extra info for Angles on otherness in post-Franco Spain: the fiction of Cristina Fernández Cubas

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Having spun his own secret plot to solve the mystery, he must stage still another show for his friends in order to conceal his real intentions: “Iba a dormirme ya cuando Josefina irrumpió sin llamar en mi cuarto. Traía una toalla en la mano y miraba de un lado a otro como si quisiera cerciorarse de algo. El cuadernillo, entre mi pierna derecha y la sábana, crujió un poco. Josefina dejó la toalla junto al lavabo y me dio las buenas noches. Parecía cansada. Yo me sentí aliviado por no haber sido descubierto” [I was finally falling asleep when Josefina burst into my room without knocking.

Mi hermana Elba is emblematic of a shift in this paradigm, wherein the post-totalitarian portrayal of the dynamics of power in fictional worlds evolves toward an examination of how relations of dominance and struggle permeate all levels of human interaction. Many of Michel Foucault’s observations on power deal with the struggles of interpersonal relationships such as those that Fernández Cubas depicts in her fiction. The French philosopher analyzes the right to power not as something legitimately possessed, but as a phenomenon effected by a temporary condition of domination.

Aspiring to pass judgment, the would-be hero imposes his own interpretation of the Alberts’ representation—an evaluation that is ultimately proven to be incorrect. Imagining that they need him to perform in their play as a sympathizer, he exercises his “power” to reject that role. Instead he assumes the power of director and recasts himself as the spectator—theoretically exiting the stage of the visible. Chapter 1 4/3/02 12:16 PM Page 49 1 / looking objectively at the subject 49 This entire story unfolds as one representation inserted within another, with one play’s actors becoming another play’s spectators.

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