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By Jessica A. Folkart

This learn examines the reconstruction of id within the context of post-totalitarian Spain and, extra largely, of postmodern Western tradition. this can be the 1st publication focussing at the fiction of influential author Cristina Fernandez Cubas. It argues that Fernandez Cuba's illustration of the mediation of identification always destabilizes the boundaries of subjectivity through underscoring the ambiguity of difference/duality.

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

This examine examines the reconstruction of identification within the context of post-totalitarian Spain and, extra greatly, 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 identification continuously destabilizes the bounds of subjectivity via underscoring the anomaly of difference/duality.

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Thus, by constantly undermining any conventional interpretation or categorization, the narrative presents itself as a bizarre mutation that might have been conjured directly from Borges’s delightfully random construction of knowledge. To enhance the emerging chaos, the true authorship of Violeta’s papers is questioned as well. ” hand-embroidered on it. This is the only clue to the woman’s identity, because no other documentation of any kind was found. Some neighbors testified that the woman who lived at the farm was one Chapter 1 4/3/02 12:16 PM Page 44 44 angles on otherness in post-franco spain señorita Victoria, while others asserted that she was called señora Luz.

The two accounts of the killing doubly subject the reader to the horrific experience of exerting power over an object, while simultaneously being objectified and observed by a more powerful subject. The protagonist’s objectification Chapter 1 4/3/02 12:16 PM Page 38 38 angles on otherness in post-franco spain beneath Lúnula’s gaze during the butchery is all the more disturbing because of the implication that Violeta, too, could be suffocated and sacrificed—figuratively or literally—by one more powerful than she.

Lúnula not only objectifies her friend, but also categorizes her as abnormal. Beneath Lúnula’s examining gaze, Violeta is branded as “deformed” and thus inferior: “‘¡Y qué rara alimentación te has debido preparar en estos días! . Te noto deformada, extraña’” [“And what odd food you must have prepared for yourself these last few days! . You look disfigured, strange”] (26). With the normal/strange qualification, Lúnula wields the same binary oppositions to control her other that Violeta used earlier.

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