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Juana Mauela Gorriti (1818-1892) is one of the outstanding women writers of nineteenth-century Argentina. She wrote in various genres from fiction and travelogues to cookbooks and essays and she edited a number of literary reviews in Lima and Buenos Aires, where she put women's issues before the public.
Manuel Puig's 1976 Kiss of the Spider Woman, translated into
English in 1979 and adapted as an Academy Award-winning film,
expanded the idiom of the novel (mixing cinema, fiction, romance,
and song) and challenged the third-person narration that was
dominant in Latin American Boom fiction. Students are drawn to the
conversational style of the novel and the melodramatic seductions
of the tale, but they need guidance to appreciate the novel's
richness as a work of literature. This volume of the MLA's
Approaches to Teaching series suggests ways instructors can help
students grasp the novel's exploration of state and sexual politics
and discern the strategies of narration that underlie the
conversations between the two main characters. In part 1,
"Materials," the editors discuss versions and translations of the
novel, provide readings and resources, give an overview of the
historical and political background of 1970s Argentina, and outline
the author's biography. The thirteen essays in part 2,
"Approaches," written by distinguished scholars of Latin American
literature, offer close textual analysis, examine the author's use
of cinematic references, and present suggestions for teaching
Hector Babenco's film adaptation alongside the written text.
"The Art of Transition" addresses the problems defined by writers
and artists during the postdictatorship years in Argentina and
Chile, years in which both countries aggressively adopted
neoliberal market-driven economies. Delving into the conflicting
efforts of intellectuals to name and speak to what is real,
Francine Masiello interprets the culture of this period as an art
of transition, referring to both the political transition to
democracy and the formal strategies of wrestling with this change
that are found in the aesthetic realm.
Masiello views representation as both a political and artistic
device, concerned with the tensions between truth and lies,
experience and language, and intellectuals and the marginal
subjects they study and claim to defend. These often contentious
negotiations, she argues, are most provocatively displayed through
the spectacle of difference, which constantly crosses the literary
stage, the market, and the North/South divide. While forcefully
defending the ability of literature and art to advance ethical
positions and to foster a critical view of neoliberalism, Masiello
especially shows how issues of gender and sexuality function as
integrating threads throughout this cultural project. Through
discussions of visual art as well as literary work by prominent
novelists and poets, Masiello sketches a broad landscape of vivid
intellectual debate in the Southern Cone of Latin America.
"The Art of Transition" will interest Latin Americanists, literary
and political theorists, art critics and historians, and those
involved with the study of postmodernism and globalization.
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