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Los modelos de mujer y las sexualidades disidentes en las novelas de Lucía Etxebarria Amor, curiosidad, prozac y dudas y Beatriz y los cuerpos celestes

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Kobiela-Kwaśniewska M.

Romanica Silesiana

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2013

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vol. 8

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issue 2

ES

The Women’s Models and Alternative Sexuality in the Novels of Lucía Etxebarria Love, Curiosity, Prozac and Doubts and Beatrice and the Heavenly Bodies The main aim of this article is to present ways in which a controversial Spanish novelist, Lucía Etxebarria, expresses and subverts traditional social models and sexual identity of Spanish women at the end of the twentieth century by creation of female protagonists such as a promiscuouos girl, a workaholic executive or a housewife that tend to deconstruct socially normative conceptualizations of their roles and sexuality and they search for alternative constructions of feminine identity, both social and sexual one. It seems that a lesbian model of relationship is alternative to a monogamous compulsory heterosexuality. Key words: Spanish feminine literature, women’s sexual identity, lesbian model, Lucía Etxebarria.

2

Al jugar con las palabras se multiplican mundos - análisis de los juegos literarios y de lenguaje en Tres tristes tigres de Guillermo Cabrera Infante

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Kobiela-Kwaśniewska M.

Romanica Silesiana

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2009

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vol. 4

ES

This article can be classified as the one belonging to the broad area of “literary and language plays on words’’ due to its multilevel interpretation of the ludic character of literature in the novel entitled Tres tristes tigres, written by the Cuban writer Guillermo Cabrera Infante, who makes the everyday language of the Havana at the end of the 1950s the object of a play on words, and matter at the same time, which does a literary recreation through its poetisation of the colloquial language. The language, as well as literature, is a pure play on words, which, in turn, destroys in the TTT (Three Trapped Tigers) the traditional canon of the novel and creates a work of literature open to multiple interpretations and which needs an active poliglot reader able to descipher the net of allusions and references to other literary works. The mechanism of the literary play on words is based on parody (of the language itself, of the work of other Cuban writers, of American cabaret, of business celebrities, of the stories related by the characters present in the novel, and of their clumsy English-Spanish translation), on a variety of different points of view that turn the novel into a polyphonic one, on the presence of a stereotype and irony. Moreover, the play on words (anagrams, palindromes, neologisms, polysemy and ambiguity) undergoes an analysis characterised by a polyperspective interpretation of the novel. While talking about the innovative character of the novel, being an example of a new Latin American novel, we present its above-mentioned features and we also do quite a detailed analysis of one of its chapters entitled in Spanish Los visitantes, which best reflects the principal intention of Cabrera Infante: to make everyday language the main character by means of playing with it, and in this way to create a multitude of realities. Key words: Hispano-American language novel, Guillermo Cabrera Infante, Three Trapped Tigers, polyphony, literary and language play on words, parody.

3

Poesía visual de José Juan Tablada

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Kobiela-Kwaśniewska M.

Romanica Silesiana

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2008

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vol. 3

PL

The present article focuses on the visual poetry of the Mexican poet José Juan Tablada who is one of the most important precursors of the avant-garde in the twentieth century. As numerous critics have remarked, José Juan Tablada made several major contributions to modern poetry in Mexico. Although Tablada is generally credited with having introduced Latin American poets to the Japanese haiku, he was also responsible for encouraging them to experiment with visual poetry. As a result of a visit to Japan in 1900, José Juan Tablada became interested in haiku tradition and in Japanese ideograms which inspirited him to create his own poetry in the style of oriental work but adopted to the Latin American perspective of his imagination and to the rules of the Spanish language. It appears that Tablada´s attention was focused mainly on the experiments of the modern French Imagist poets and was influenced by Apollinaire´s Calligrammes, a problem that we partially intend to explain in the present article spotlighting some occurrences, but finally we conclude that both poets must have been inspired by the previous form of visual poetry, known to the ancient Greeks as technopaigneia and to the Romans as carmina figurata, or by the pre-Hispanic ideographic forms; in this subject we consider a long list of possible inspirations. The principal idea of this paper is to analyse the visual poetry of Tablada from the perspective of its interdisciplinary character, where images and words situate his poems in a spatial configuration. Therefore we have concentrated our attention on two books of poems published in Caracas, the first one entitled Un día… Poemas sintéticos edited in 1919, and the second one, Li-Po y otros poemas, published in 1920, as an example of the so called visual poetry or ideographic poems, a denomination more appropriate for the second collection. To sum up, Tablada was an innovator, though he did borrow ideas like most writers do. His haikus are original, accompanied with his self-made drawings, and have a distinct Mexican flavor containing local references to flora, fauna o Mexican culture - characteristics that we underline in this paper while also providing a general overview of some theoretical aspects related to Literature and Art. Key words: Visual poetry, ideographic poems, haiku, José Juan Tablada, Mexican poetry.

4

Un incendio invisible de Sara Mesa como una crítica implícita al «Homo consumericus»

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Kobiela-Kwaśniewska M.

Studia Romanica Posnaniensia

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2022

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vol. 49

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issue 1

33-52

EN

The paper is an attempt at shedding light on the issues related to the dystopian vision of postmodern society metonymically represented by Vado, an imaginary city, in the novel Un incendio invisible written by Sara Mesa. This abandoned urban space causes us to reflect on crucial topics in postmodern society, such as incorporation into unknown place, redefinition of the concept of parenthood, liquid and perverse love, social inequalities, abandoned elders, consumption, role of shopping malls and their significance, human alienation, all phenomena that we find in the novel. The city of Vado plays symbolic role in that piece, hence its devastation and ruin show a close connection with the consumer society and the actions of Homo consumericus. We base our analysis on the philosophical and sociological postulates of Gilles Lipovetsky, Zygmunt Bauman, Erich Fromm and anthropological one of Marc Augé, as well as on the proposal of how to read a novel by Javier del Prado Biezma in order to describe the nature of all these mentioned problems and expose the criticism of Homo consumericus concealed in the novel.

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Los modelos de mujer y las sexualidades disidentes en las novelas de Lucía Etxebarria Amor, curiosidad, prozac y dudas y Beatriz y los cuerpos celestes

Al jugar con las palabras se multiplican mundos - análisis de los juegos literarios y de lenguaje en Tres tristes tigres de Guillermo Cabrera Infante

Poesía visual de José Juan Tablada

Un incendio invisible de Sara Mesa como una crítica implícita al «Homo consumericus»