By Jessica A. Folkart
This research examines the reconstruction of identification within the context of post-totalitarian Spain and, extra extensively, of postmodern Western tradition. this is often the 1st booklet focussing at the fiction of influential author Cristina Fernandez Cubas. It argues that Fernandez Cuba's illustration of the mediation of identification consistently destabilizes the bounds of subjectivity via underscoring the anomaly of difference/duality.
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Additional info for Angles on otherness in post-Franco Spain: the fiction of Cristina Fernández Cubas
I don’t find mine. Almost all of them are marked out, corrected. . ] (29). Violeta’s submission is now total: projecting her writing as the symbolic image of her self, she can no longer separate her identity from that of Lúnula. Thus, the victim sutures herself to her victimizer and loses all hope of resistance. The destructive outcome of this power play culminates when Violeta seeks to burn the rest of her manuscript, a final gesture that aims to obliterate any remaining vestiges of her own discursively represented identity.
If at least some of her writing survived, does the story “Lúnula y Violeta” consist of the manuscript, the notebook, or a combination of both? If this tale is what remains of Violeta’s text, how much of it originated, in fact, from Violeta, and how much of it comes from the “corrections” of Lúnula, who receives top billing in the title? If Violeta lied about burning her manuscript, is she a trustworthy narrator? Furthermore, if she was “crazy” enough to sacrifice herself completely to Lúnula, as the text describes, what reader would trust her as a narrator anyway?
25) [S]he selects a rabbit from the corral and, with a sure hand, kills it in my presence with one blow. Almost without blood, smiling, with incredible cleanliness she skins it, she has removed its innards, she washes it, she has pulled out its heart, she seasons it with aromatic herbs and red wine. ] Lúnula’s masterful dismemberment of the rabbit makes Violeta’s clumsy butchery of the rooster seem, in contrast, all the more appalling and macabre for its incompetence. Thus Violeta’s focalizing gaze in this passage does not just register Lúnula’s skill, but also causes her to recognize her own ineptitude at performing rituals of power and subjection.
Angles on otherness in post-Franco Spain: the fiction of Cristina Fernández Cubas by Jessica A. Folkart