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Dicotomías narrativas en "El árbol" de María Luisa Bombal
BIANCO,PAOLA;
Acta literaria , 2002, DOI: 10.4067/S0717-68482002002700007
Abstract: in this article i analyze how maría luisa bombal reflects the condition of the hispanic woman through her social and historical textualization. in all of her literary work, there exists a constant presence of nature that comes to symbolize her feminine character intimacy and their marginal situation. in "the tree", the author presents a dichotomic structure that polarizes the narrative into two antagonistic, hierarchic, and different forces. and, the barrier that delimits them constitutes a border that separates these two irreconcilable worlds. maría luisa bombal reveals in this short story how the patriarchal system ignores the feminine subjectivity, and how this one achieves expression in the alienated withdrawal of nature
Dicotomías narrativas en "El árbol" de María Luisa Bombal
PAOLA BIANCO
Acta Literaria , 2002,
Abstract: In this article I analyze how María Luisa Bombal reflects the condition of the Hispanic woman through her social and historical textualization. In all of her literary work, there exists a constant presence of nature that comes to symbolize her feminine character intimacy and their marginal situation. In "The Tree", the author presents a dichotomic structure that polarizes the narrative into two antagonistic, hierarchic, and different forces. And, the barrier that delimits them constitutes a border that separates these two irreconcilable worlds. María Luisa Bombal reveals in this short story how the patriarchal system ignores the feminine subjectivity, and how this one achieves expression in the alienated withdrawal of nature
Eco-feminismo en la narrativa surrealista de María Luisa Bombal
Clark,Zoila Yovanna;
Cuadernos del CILHA , 2010,
Abstract: using hélène cixous' concept of écriture féminine and ress' and warren's interpretation of eco-feminism, this work presents an analysis of three short stories by maria luisa bombal: "the tree," "new islands" and "maría griselda." bombal's surrealist writing involves a sensorial quest through the unconscious mind in search of a new understanding of female desire, which is still veiled in mystery. since bombal identifies female characters with nature when developing intimate female issues, an eco-feminist perspective has particular resonance in a discussion of her work.
Eco-feminismo en la narrativa surrealista de María Luisa Bombal Eco-feminism in Maria Luisa Bombal's Surrealist Narrative  [cached]
Zoila Yovanna Clark
Cuadernos del CILHA , 2010,
Abstract: Este trabajo presenta un análisis de tres cuentos de Maria Luisa Bombal: "El árbol", "Las islas nuevas" y "La historia de María Griselda" usando el concepto de écriture féminine de Hélène Cixous y el de eco-feminismo, según Ress y Warren. Se se ala una perspectiva eco-feminista en la escritura surrealista de Bombal por la identificación de los personajes femeninos con la naturaleza, al desarrollar los problemas íntimos que éstas padecen. Se trata de una búsqueda sensorial, a través del inconsciente de un nuevo entendimiento del deseo femenino, que sigue siendo un misterio. Using Hélène Cixous' concept of écriture féminine and Ress' and Warren's interpretation of eco-feminism, this work presents an analysis of three short stories by Maria Luisa Bombal: "The Tree," "New Islands" and "María Griselda." Bombal's surrealist writing involves a sensorial quest through the unconscious mind in search of a new understanding of female desire, which is still veiled in mystery. Since Bombal identifies female characters with nature when developing intimate female issues, an eco-feminist perspective has particular resonance in a discussion of her work.
"?Se mueve la niebla con nosotros?": personajes y vanguardia en María Luisa Bombal
Echenberg, Margo;
En-claves del pensamiento , 2010,
Abstract: upon being asked to lengthen her novel la amortajada to at least two hundred pages, maría luisa bombal opted not for a literal translation, but rather wrote the shrowded woman (1947). this article looks at the additions to the novel in english in relation to the evolution of the main character both in this novel and in la amortajada, a novel written in spanish and published by the prestigious editorial sur in buenos aires ten years earlier. bombal's prose in english in the added chapters of the novel contrasts with her lyrical style in spanish that skill-fully portrays both the desire and sense of lack suffered by the protagonist. as such, the english language novel is a more conventional work. moreover, the new chapters of the shrowded woman focus not on the protagonist but rather on secondary characters, rendering the romantic entanglements more complicated and verging on the melodramatic. the study of the new segments of the novel written in english proves them not only to be superfluous in terms of the development of the main character but in fact partly responsible for impoverishing the novel. this same conclusion, nevertheless, suggests just how bombal's prose in spanish is poised on the avant-guard.
El deseo, el cuerpo y el secreto, como formas de subjetivación en María Luisa Bombal Desire, Body and Secrecy as Forms of Subjectification in María Luisa Bombal's Literature  [cached]
Nicolás Román
Aisthesis , 2012,
Abstract: El problema del deseo en la literatura de Gilíes Deleuze posee dos entradas. Por un lado está la articulación biopolítica del deseo, desde donde se desarrollan las técnicas de sujeción, y por otra parte, la construcción del deseo como una realidad autónoma y creativa que tiende hacia su subjetivación. Justamente la narrativa de María Luisa Bombal se encuentra en aquella encrucijada. En sus novelas y cuentos hay un enfrentamiento al dilema de la enunciación del deseo femenino, donde la rigidez de su silenciamiento se vuelve tensa en la incorporación de la agencia subjetiva. The problem of desire in the literature of Gilles Deleuze may be understood from two distinct perspectives. On the one hand, we have the bio-political interpretation of desire, from which the techniques of subjection have developed, while on the other, there is the construction of desire as an autonomous and creative reality that tends toward its own subjectification. The narrative of María Luisa Bombal is situated precisely at the crossroads between these two perspectives. Her novels and stories confront the dilemma of how to articulate feminine desire, in which the already rigid silence becomes even more unyielding in the presence of a subjective agency.
La última niebla de María Luisa Bombal: excentricidad, desacato y eroticidad en el devenir identitario femenino
ESPINOSA H.,PATRICIA;
Acta literaria , 2005, DOI: 10.4067/S0717-68482005000200002
Abstract: maría luisa bombal?s (1910-1930) la última niebla, first published in 1934, is not devoid of socio-political criticism. it fits into the category of novels which present unfulfilled female worlds. the unveiling of a private sphere in crisis makes possible the unfolding of a conscience; this in turn gives shape to a world detached from reality. this is a phenomenon which appears with great force in the narrative of chilean bourgeoisie women at the turn of the 20th century. in the case of bombal, it will acquire traits which are particularly confrontational, due -to great extent- to the irruption of eroticism as a constituent element of intimacy
La última niebla de María Luisa Bombal: excentricidad, desacato y eroticidad en el devenir identitario femenino
PATRICIA ESPINOSA H.
Acta Literaria , 2005,
Abstract: La última niebla, de María Luisa Bombal (1910-1980) publicada por primera vez en 1934 no se aleja de la denuncia político-social y se inserta en la configuración de mundos femeninos diezmados. La develación de un territorio privado en crisis posibilita el discurrir de una conciencia que construye un mundo distanciado de lo real, fenómeno que en la narrativa de mujeres chilenas pertenecientes a la alta burguesía se evidencia con gran fuerza en producciones de principios del XX, pero que en el caso de Bombal adquirirá características particularmente rupturistas debido, sobre todo, a la irrupción del erotismo como fuerza constituyente de la intimidad María Luisa Bombal’s (1910-1930) La última niebla, first published in 1934, is not devoid of socio-political criticism. It fits into the category of novels which present unfulfilled female worlds. The unveiling of a private sphere in crisis makes possible the unfolding of a conscience; this in turn gives shape to a world detached from reality. This is a phenomenon which appears with great force in the narrative of Chilean bourgeoisie women at the turn of the 20th century. In the case of Bombal, it will acquire traits which are particularly confrontational, due -to great extent- to the irruption of eroticism as a constituent element of intimacy
El deseo, el cuerpo y el secreto, como formas de subjetivación en María Luisa Bombal
Román,Nicolás;
Aisthesis , 2012, DOI: 10.4067/S0718-71812012000100011
Abstract: the problem of desire in the literature of gilles deleuze may be understood from two distinct perspectives. on the one hand, we have the bio-political interpretation of desire, from which the techniques of subjection have developed, while on the other, there is the construction of desire as an autonomous and creative reality that tends toward its own subjectification. the narrative of maría luisa bombal is situated precisely at the crossroads between these two perspectives. her novels and stories confront the dilemma of how to articulate feminine desire, in which the already rigid silence becomes even more unyielding in the presence of a subjective agency.
EL DELIRIO QUE VIENE DE LAS NINFAS EN LA NOVELA LATINOAMERICANA: "NADA MáS QUE SER FELIZ"
Mario Rodríguez,José Manuel Rodríguez
Revista Chilena de Literatura , 2008,
Abstract: Explorando el panoptismo en la novela hispanoamericana, nos encontramos con una figura inesperada, la de las ninfas, figura no prevista en la investigación. No fue un encuentro buscado, sino una constatación no vista hasta ahora: las figuras femeninas paradigmáticas del relato de vanguardia (La Maga, La Eterna, Beatriz, Brígida, Elsa, por ejemplo) son categóricamente ninfas. Todas ellas aparecen inseparables de elementos acuáticos y vegetales (como la dríade Brígida de El árbol de María Luisa Bombal). En sentido estricto forman "agenciamientos" con ríos, fuentes, árboles y flores. When exploring panopticism in Latin American novels, we encountered an unexpected image, that ofthe nymphs, an image we hadnot accounted for in our research. We had not looked for nymphs, a figure for previously present in earlier readings o fthese novels; but those paradigmatic feminine figures in avant-garde narratives (La Maga, La Eterna, Beatriz, Brigida, Elsa) can categorically be described as nymphs. They are inseparable from aquatic and vegetal elements (like the driade Brigida in El árbol by María Luisa Bombal). They actuate through the medium of rivers, fountains, trees and flowers.
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