Articles by Paola Susana Solorza
Rivista Altre Modernità / Revista Otras Modernidades, 2020
Este artículo propone una relectura de la novela Sangre en el ojo (2012) de Lina Meruane, retoman... more Este artículo propone una relectura de la novela Sangre en el ojo (2012) de Lina Meruane, retomando la perspectiva de la teoría y crítica de la memoria, y su relación con la historia más reciente de Chile. La enfermedad que padece la protagonista se transforma en una ceguera ideológica que da cuenta de la desmemoria o del olvido inducido que ha sufrido el cuerpo social con respecto a los abusos de poder perpetrados por el régimen pinochetista. Al continuar replicando la impunidad y la injusticia, el sistema actualiza constantemente el trauma dictatorial. En este sentido, Sangre en el ojo puede ser leída incluso en clave simbólico-anticipatoria de los sucesos acaecidos a partir del 18 de octubre de 2019, con el denominado Despertar de Chile, durante el cual la represión ejercida por el Estado ha recurrido a una programática mutilación ocular para desalentar las protestas. Este trabajo explora los orígenes de esa ceguera/desmemoria y la lucha por recuperar una mirada/memoria
alternativa y disidente./
This article proposes a re-reading of Lina Meruane’s novel Sangre en el ojo (2012) from the perspective of the theory and criticism of memory, and its relationship with Chile’s most recent history. The disease that affects the main character becomes an ideological blindness which accounts for the forgetfulness or induced oblivion that the social body has suffered with regard to the abuses of power perpetrated by Pinochet´s regime. Replicating impunity and injustice, the system is constantly updating the dictatorial trauma. In this sense, Sangre en el ojo may even be read as a
symbolic anticipation of the events that occurred from October 18th, 2019, with the so-called Chilean Awakening where State repression focused on a programmatic eye mutilation in order to discourage protests. This work explores the origins of blindness/forgetfulness and the struggle to recover an alternative and dissident gaze/memory.
Revista Cuestiones de Género: de la igualdad y la diferencia, 2017
El presente artículo propone una reflexión sobre las prácticas de coacción y exclusión que implem... more El presente artículo propone una reflexión sobre las prácticas de coacción y exclusión que implementa la necropolítica del modelo neoliberal, a través del análisis de dos novelas de la escritora chilena Diamela Eltit: Mano de obra (2002) e Impuesto a la carne (2010). La dictadura del mercado ha exacerbado los mecanismos de control sobre los cuerpos y la feminización de la pobreza demuestra que son las mujeres quienes más sufren la exclusión y opresión de una regulación determinada por la acumulación capitalista. Sin embargo, en ambas novelas son los personajes femeninos quienes van a operar como potenciales agentes de cambio, generando pequeños "lugares de desacato" o esferas minoritarias de resistencia que desafiarán la lógica utilitaria y el dominio global del capital./
This article reflects on coercion and exclusion practices that implement the necropolitics of the neoliberal model, through the analysis of the two novels by the Chilean author Diamela Eltit, Mano de obra (2002) and Impuesto a la carne (2010). The dictatorship of the market has exacerbated the mechanisms of control over the bodies and the feminization of poverty shows that women are the ones who suffer the most from the exclusion and oppression of a regulation determined by capitalist accumulation. However, in both novels, female characters operate as potential agents of change, generating small "places of contempt" or minority spheres of resistance that will challenge the utilitarian logic and global dominance of capital.
Revista Nomadías, 2015
Este trabajo propone un análisis deleuze-guattariano del lenguaje en dos novelas de la escritora ... more Este trabajo propone un análisis deleuze-guattariano del lenguaje en dos novelas de la escritora chilena, Diamela Eltit: Lumpérica (1983) y Los vigilantes (1994), centrándose en los conceptos de “agramaticalidad”, “desterritorialización”, “líneas de fuga” y “devenir minoritario” en la representación de corporalidades y subjetividades marginales. Los personajes de las novelas de Eltit están atravesados por un poder opresor que intenta convertirlos en cuerpos funcionales al sistema –entendido éste como entramado de fuerzas en el que se entrecruzan diversas variables sociales que confluyen en la persistencia de un régimen dictatorial- y, sin embargo, intentan en todo momento sustraerse al mismo, subvirtiendo su lógica. Esto se pone de manifiesto mediante un uso particular del lenguaje que rompe la cadena significante con la incorporación de rasgos expresivos atípicos como balbuceos, chillidos, rictus. Se trata, en definitiva, de un “lenguaje minoritario” que va generando un “devenir clandestino” en los límites de lo innombrable./
This work focalizes in a deleuzian and guattarian perspective of language in two novels of the Chilean writer Diamela Eltit, Lumpérica (1983) and Los vigilantes (1994), considering the concepts of “agramaticality”, “deterritorialization”, “lines of flight” and “becoming minor” in the representation of marginal corporalities and subjectivities. Most of Eltit´s characters are crossed by an oppressive power that tries to make them fit in a system –understood as an ensemble of forces in which many social variables crosslink and converge in the persistence of a dictatorial regime- and however, these corporalities and subjectivities ended up subverting its logic. This is possible through a particular use of language which breaks the signifying chain integrating atypical expressions such as babbles, screeches, rictus. Ultimately, it refers to a minor language which generates a “clandestine becoming” in the limits of the unnamable.
Orillas Rivista d'Ispanistica, 2015
El presente artículo propone un análisis de la representación del cuerpo femenino a partir de la ... more El presente artículo propone un análisis de la representación del cuerpo femenino a partir de la interacción de dos categorías: género y raza. En consonancia con la categoría de género como constructo cultural, los Estudios Postcoloniales también han hecho hincapié en la noción de raza como una construcción cultural, que históricamente se ha intentado naturalizar con el objetivo de legitimar el dominio y la posesión del territorio. En Por la Patria, el cuerpo de las mujeres indígenas, como territorio de conquista, será objeto de múltiples opresiones. Sin embargo, su protagonista Coya/Coa, intentará, mediante una reescritura de los márgenes, cambiar el rumbo de la historia oficial para des-colonizar y des-patriarcalizar el cuerpo femenino./
This article analyses the representation of the female body from the interaction of two categories: gender and race. In line with the category of gender as a social construction, theorists of Postcolonial Studies have emphasized the fact that race is also a social construction that was historically naturalized in order to legitimize the conquest and possession of territory. In Por la Patria, the body of indigenous women, as a territory of conquest, is the subject of multiple oppressions. However, the main character Coya/Coa, tries to challenge official history by rewriting the margins to decolonize and depatriarchalized the female body.
Revista Sans Soleil -Estudios de la Imagen-, 2015
La politización de la función materna encontró reiteradas manifestaciones a lo largo de la histor... more La politización de la función materna encontró reiteradas manifestaciones a lo largo de la historia, una de ellas fue la posición maternalista y eugenésica que adoptaron los estados totalitarios en complicidad con la Iglesia Católica. Las mujeres que relegaban la función materna ponían en riesgo la institución familiar y estatal, con el peligro de caer por fuera del orden establecido y transformarse en algo monstruoso. En El cuarto mundo de Diamela Eltit, novela publicada durante la dictadura chilena, las madres se posicionan en el lugar del deseo, lo prohibido, resignificando los parámetros de la maternidad como fundamento de lo femenino./
The politicization of the maternal function has found recurrent manifestations throughout history, one of which was the maternalistic and eugenic ideology adopted by totalitarianisms in complicity with the Catholic Church. Women who relegated the maternal function risked the family institution and hence, the State, falling out of the established order and becoming monstrous. In Diamela Eltit´s El cuarto mundo, published during Chilean dictatorship, mothers are positioned in the place of desire, the forbidden, resignifying motherhood parameters as the basis of the feminine.
Cuadernos de Inter.c.a.mbio sobre Centroamérica y el Caribe, 2015
Este artículo analiza los cambios que se producen al interior del movimiento feminista italiano y... more Este artículo analiza los cambios que se producen al interior del movimiento feminista italiano y español de la década de 1980. Señala la diversificación del movimiento, mucho más evidente en el caso español que en el italiano, donde la heterogeneidad había venido gestándose desde los inicios de la década de 1970. El feminismo tuvo también sus resonancias en la literatura de la época. En este sentido, Lettere a Marina
(1981) de Dacia Maraini y Para no volver (1985) de Esther Tusquets son representaciones literarias que utilizan como intertexto los discursos de debate social que había instaurado el movimiento, entre ellos, la crítica al modelo patriarcal del psicoanálisis, la pugna por el derecho al aborto, el lesbianismo y la necesidad de las mujeres de disponer libremente de sus cuerpos, contribuyendo así a visibilizar el terreno ganado en materia de derechos y lo que quedará todavía pendiente para décadas sucesivas./
This article analyzes the changes within the Italian and Spanish feminist movements in the 80’s. It explores the diversification of the feminist movement, more evident in the Spanish case than in the Italian one, where heterogeneity had been brewing from the beginning of the 70’s. The feminist movement also inluenced literature in those years. In this sense, Lettere a Marina (1981) by Italian author Dacia Maraini and Para no volver (1985) by Spanish author Esther Tusquets are literary representations
encompassing social debate discourses established by the feminist movement as intertexts. Such discourses include criticism to the patriarchal psychoanalytic model, struggle for abortion rights, lesbianism and women’s need to decide about their own bodies. Therefore, this literature contributed to expose their achievements concerning women’s rights and to focus on what was yet to be done in the succeeding decades.
Raudem -Revista de Estudios de las Mujeres- , 2014
El presente trabajo se propone, a partir del análisis de la novela Impuesto a la carne (2010) de ... more El presente trabajo se propone, a partir del análisis de la novela Impuesto a la carne (2010) de Diamela Eltit, demostrar el modo en que el paradigma biopolítico da lugar a un control excesivo sobre los cuerpos, "legitimando" distintas formas de violencia con el riesgo de caer en una tanatopolítica. La metáfora del hospital, en tanto espacio simbólico asimilable al Estado, remite a la memoria de la dictadura y los años de opresión en Chile. Allí, una madre y una hija, proyectándose en un vínculo simbiótico de fuerzas anárquicas, atentarán contra la estabilidad del Estado-hospitalario, oponiendo una acérrima resistencia./
Focusing on the novel Impuesto a la carne (2010) by Diamela Eltit, this paper analyses the way in which the biopolitical paradigm develops an excessive control over the bodies, 'legitimizing' different forms of violence and risking falling into a thanatopolitics. The metaphor of the hospital -as a symbolic space resembling the State- relates to the memory of the dictatorship and the years of oppression in Chile. In Eltit's novel, a mother and a daughter, projecting themselves onto the other in a symbiotic relationship of anarchical forces, will threaten the stability of this 'hospital State' opposing a staunch resistance.
Revista Nomadías, 2012
Este artículo analiza, a través de los personajes de la novela de Esther Tusquets, El mismo mar d... more Este artículo analiza, a través de los personajes de la novela de Esther Tusquets, El mismo mar de todos los veranos (1978), el modo en el cual el lesbianismo se vuelve progresivamente visible en la sociedad española durante la transición democrática, una vez concluido el régimen franquista. La materialización de este deseo, todavía considerado desviado, actúa como un elemento subversivo, que se opone a los roles de género estrictamente fijados durante la dictadura./
Throughout the characters of Esther Tusquets’ novel, El mismo mar de todos los veranos (1978), this article analyses how lesbianism becomes progressively visible in Spanish society during the transition to democracy after Franco’s regime. The materialization of this desire, still regarded as deviated, acts as a subversive element opposing the strict gender role stereotypes established during that dictatorship.
Revista Argus-a Artes y Humanidades, 2012
El presente artículo analiza el film La cámara oscura dirigido por la argentina María Victoria Me... more El presente artículo analiza el film La cámara oscura dirigido por la argentina María Victoria Menis, desde una perspectiva de género, postulando una nueva estética y representación del cuerpo femenino, y una alternativa a los modos de percepción estereotipados del cine clásico hollywoodense./
This article analyzes the film “La cámara oscura” by Argentinean Director María Victoria Menis from a gender perspective, suggesting a new aesthetics and representation of the female body, as well as an alternative to those stereotyped ways of perception from Hollywood’s classic cinema.
Boletín de Humanidades Nueva Época, 2005
Este trabajo tiene por objeto demostrar que la traducción, en particular aplicada a la poesía, pr... more Este trabajo tiene por objeto demostrar que la traducción, en particular aplicada a la poesía, pre-supone un desplazamiento de la identidad a nivel sígnico, quedando eternamente postergado un "resto" irreductible a todo intento de re-apropiación lingüística. Dicho resto constituye una resistencia al sistema de la lengua y genera una potencial apertura que surge en los bordes de la misma.
Revista Argus-a Artes y Humanidades, 2012
El presente artículo analiza la novela Donna in guerra de Dacia Maraini en el contexto de los año... more El presente artículo analiza la novela Donna in guerra de Dacia Maraini en el contexto de los años setenta, considerando la progresiva toma de conciencia de la violencia que el orden instituido ejerce sobre el cuerpo femenino. La década del setenta en Italia constituye un punto de ruptura y rechazo del orden patriarcal heredado, a partir del cual se genera una apertura hacia el cambio./
Il presente articolo analizza il romanzo Donna in guerra di Dacia Maraini nel contesto degli anni settanta, considerando la progressiva presa di coscenza della violenza che l’ordine istituito esercita sul corpo femminile. La decade del settanta in Italia costituisce un punto di rottura e di rifiuto dell’ordine patriarcale ereditato, a partire dal quale sorge un’apertura verso il cambiamento.
Revista Literaria Katharsis, 2009
This research demonstrates that Shakespeare portrays Truth as being relative throughout his liter... more This research demonstrates that Shakespeare portrays Truth as being relative throughout his literary work and that, ultimately, it is impossible for language to represent the world absolutely and accurately.
Revista Espacios de crítica y producción, 2009
El presente trabajo constituye un análisis de la representación del cuerpo femenino, a través de ... more El presente trabajo constituye un análisis de la representación del cuerpo femenino, a través de los conceptos de belleza y fealdad/abyección, en la narrativa de la escritora argentina Silvina Ocampo.
Interviews by Paola Susana Solorza
Revista Anclajes, 2016
Diamela Eltit (1949-). Escritora chilena, cofundadora junto al poeta Raúl Zurita del Colectivo Ac... more Diamela Eltit (1949-). Escritora chilena, cofundadora junto al poeta Raúl Zurita del Colectivo Acciones de Arte (CADA). Incursionó en el ámbito literario desde los años 1970, aunque su nombre adquirió notoriedad a principios de la década de 1980, con la aparición del libro de ensayos Una milla de cruces sobre el pavimento (1980). Ha publicado numerosas novelas, entre las que se destacan en el inicio de su carrera: Lumpérica (1983), Por la Patria (1986), El cuarto mundo (1988) y Los vigilantes (1994). Entre su producción más reciente encontramos: Jamás el fuego nunca (2007), Impuesto a la carne (2010) y Fuerzas especiales (2013). Ha obtenido numerosos premios y reconocimientos, como el Premio Iberoamericano de Letras José Donoso 2010 y el Premio Altazor 2014, en la categoría narrativa por su última novela, Fuerzas especiales. Se desempeña, además, como Distinguished Global Professor de escritura creativa en español, en la New York University (NYU), USA.
Esta entrevista fue realizada el 2 de mayo de 2014, en ocasión de la visita de la escritora a la Argentina para participar en el encuentro “Diálogo de Escritores Latinoamericanos”, realizado en la 40a Feria Internacional del Libro de Buenos Aires. Antes del encuentro, Diamela Eltit se prestó, con amabilidad, a la entrevista en un viejo hotel del barrio de Palermo, café de por medio./
Diamela Eltit (1949-). Chilean writer, cofounder, along with Raúl Zurita of the Colectivo Acciones de Arte (CADA, Art Actions Collective), Eltit broke into the literary scene in the 1970s. She became more widely known in the 1980s with the launch of her book of essays, Una milla de cruces sobre el pavimento (1980, A mile of crosses on the pavement). She has published numerous novels, some significant early titles including Lumpérica (1983), Por la Patria (1986), El cuarto mundo (1988) and Los vigilantes (1994). Among her more recent titles are Jamás el fuego nunca (2007), Impuesto a la carne (2010) y Fuerzas especiales (2013). She has earned many awards and distinctions, such as the José Donoso Prize in 2010 and the Altazor Prize in 2014 for her latest novel, Fuerzas especiales. She is also Distinguished Global Professor of creative writing in Spanish at New York University (NYU).
This interview was conducted on May 2, 2014 while the writer was visiting Argentina as part of the “Dialogue of Latin American Writers,” during the 40th International Book Fair in Buenos Aires. Before the meeting, Diamela Eltit kindly provided this interview over coffee at an old Palermo neighborhood hotel.
Revista Argus-a Artes y Humanidades, 2015
Dacia Maraini nació en Fiesole, Italia, en 1936. Es hija del famoso etnólogo Fosco Maraini y de l... more Dacia Maraini nació en Fiesole, Italia, en 1936. Es hija del famoso etnólogo Fosco Maraini y de la pintora siciliana de ascendencia noble, Topazia Alliata. Maraini es una escritora que a lo largo de su obra ha demostrado un profundo compromiso social y una especial sensibilidad en lo que atañe a la condición humana femenina. Ha vivido experiencias fuertes que, sin duda, motivaron luego su activismo en favor de los derechos humanos, con un especial interés por los derechos de las mujeres. Sufrió junto a su familia las consecuencias de mantenerse fiel a la ideología anti-fascista, viéndose obligados a vivir durante dos años prisioneros en un campo de concentración japonés por negarse a firmar la adhesión a la República de Salò. Cuenta que su madre era una gran narradora de historias y que en los momentos difíciles, sus relatos la ayudaron a afrontar la dura realidad. Quizás por eso, ella eligió el camino de las historias, historias de personajes femeninos que nos transmiten su fuerza, su constante inconformismo y esa búsqueda de libertad que trasunta toda su obra.
Revista Argus-a Artes y Humanidades, 2014
Luisa Muraro es una de las principales exponentes del feminismo italiano. Reconocida internaciona... more Luisa Muraro es una de las principales exponentes del feminismo italiano. Reconocida internacionalmente, ha sido una de las fundadoras de la Librería de las Mujeres de Milán y de la comunidad filosófica femenina de la Universidad de Verona, conocida con el nombre de Diotima. Algunos de sus libros han sido traducidos al español como Guillerma y Maifreda. Historia de una herejía feminista (1997) [1985] y El orden simbólico de la madre (1994) [1991]. Ha escrito también en coautoría: No creas tener derechos. La generación de la libertad femenina en las ideas y las vivencias de un grupo de mujeres (1991) [1987] y Diotima. Traer al mundo el mundo. Objeto y objetividad a la luz de la diferencia sexual (1996) [1990], entre muchos otros. Su último libro, Dio è violent (2012) indaga sobre los disparadores y los modos de manifestación de la violencia en las sociedades contemporáneas./
Luisa Muraro is one of the main exponents of Italian feminism. Internationally well-known, she founded the Milan Women´s Bookstore and the philosophical feminine community at the University of Verona called Diotima. Some of her books were translated into Spanish such as Guillerma y Maifreda. Historia de una herejía feminista (1997) [1985] and El orden simbólico de la madre (1994) [1991]. She has also coauthored No creas tener derechos. La generación de la libertad femenina en las ideas y las vivencias de un grupo de mujeres (1991) [1987] and Diotima. Traer al mundo el mundo. Objeto y objetividad a la luz de la diferencia sexual (1996) [1990], among many other books. Her most recent book Dio è violent (2012) is a research on the origins of violence and its different ways of manifestation in contemporary societies.
Papers by Paola Susana Solorza
Anclajes, 2016
. Chilean writer, cofounder, along with Raúl Zurita of the Colectivo Acciones de Arte (CADA, Art ... more . Chilean writer, cofounder, along with Raúl Zurita of the Colectivo Acciones de Arte (CADA, Art Actions Collective), Eltit broke into the literary scene in the 1970s. She became more widely known in the 1980s with the launch of her book of essays, Una milla de cruces sobre el pavimento (1980, A mile of crosses on the pavement). She has published numerous novels, some significant early titles including Lumpérica (1983), Por la Patria (1986), El cuarto mundo (1988) and Los vigilantes (1994). Among her more recent titles are Jamás el fuego nunca (2007), Impuesto
III Jornadas CINIG de Estudios de Género y Feminismos, 2013
En la década del setenta se inicia en Europa una ruptura con respecto a los modelos de feminidad ... more En la década del setenta se inicia en Europa una ruptura con respecto a los modelos de feminidad heredados. El movimiento feminista, cuyo accionar había venido desarrollándose en los Estados Unidos durante los años sesenta, comienza a manifestarse en el escenario europeo, en parte influenciado por los ideales revolucionarios del mayo del 68. En diversas ciudades de Italia, entre los años 1970 y 1973, se organizan grupos y colectivos feministas.
En España, sin embargo, la influencia de los ideales revolucionarios no se volverá manifiesta hasta 1975, dado que hasta ese momento el país siguió sometido a la dictadura franquista.
Congreso de Literatura "Hacia el Bicentenario: Dos Siglos de Mujeres en las Letras" / Publicado también en: Revista Palabras Diversas, 2009
Este paper tiene por objeto analizar de qué manera el deseo femenino irrumpe en la narrativa de d... more Este paper tiene por objeto analizar de qué manera el deseo femenino irrumpe en la narrativa de dos escritoras argentinas, Silvina Ocampo y Tununa Mercado, poniendo en evidencia los límites del Orden (lacanianamente asimilable a la Ley o Nombre del Padre). El deseo surge como una fuerza o flujo imposible de ser delimitado, llevando la escritura al límite de lo indecible: cierta "inclinación a callar" que encontraremos en Silvina Ocampo pero que, sin embargo, continuará imbuida por el vértigo de decir, pues en términos de Tununa Mercado "el máximo erotismo es precisamente escribir".
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Articles by Paola Susana Solorza
alternativa y disidente./
This article proposes a re-reading of Lina Meruane’s novel Sangre en el ojo (2012) from the perspective of the theory and criticism of memory, and its relationship with Chile’s most recent history. The disease that affects the main character becomes an ideological blindness which accounts for the forgetfulness or induced oblivion that the social body has suffered with regard to the abuses of power perpetrated by Pinochet´s regime. Replicating impunity and injustice, the system is constantly updating the dictatorial trauma. In this sense, Sangre en el ojo may even be read as a
symbolic anticipation of the events that occurred from October 18th, 2019, with the so-called Chilean Awakening where State repression focused on a programmatic eye mutilation in order to discourage protests. This work explores the origins of blindness/forgetfulness and the struggle to recover an alternative and dissident gaze/memory.
This article reflects on coercion and exclusion practices that implement the necropolitics of the neoliberal model, through the analysis of the two novels by the Chilean author Diamela Eltit, Mano de obra (2002) and Impuesto a la carne (2010). The dictatorship of the market has exacerbated the mechanisms of control over the bodies and the feminization of poverty shows that women are the ones who suffer the most from the exclusion and oppression of a regulation determined by capitalist accumulation. However, in both novels, female characters operate as potential agents of change, generating small "places of contempt" or minority spheres of resistance that will challenge the utilitarian logic and global dominance of capital.
This work focalizes in a deleuzian and guattarian perspective of language in two novels of the Chilean writer Diamela Eltit, Lumpérica (1983) and Los vigilantes (1994), considering the concepts of “agramaticality”, “deterritorialization”, “lines of flight” and “becoming minor” in the representation of marginal corporalities and subjectivities. Most of Eltit´s characters are crossed by an oppressive power that tries to make them fit in a system –understood as an ensemble of forces in which many social variables crosslink and converge in the persistence of a dictatorial regime- and however, these corporalities and subjectivities ended up subverting its logic. This is possible through a particular use of language which breaks the signifying chain integrating atypical expressions such as babbles, screeches, rictus. Ultimately, it refers to a minor language which generates a “clandestine becoming” in the limits of the unnamable.
This article analyses the representation of the female body from the interaction of two categories: gender and race. In line with the category of gender as a social construction, theorists of Postcolonial Studies have emphasized the fact that race is also a social construction that was historically naturalized in order to legitimize the conquest and possession of territory. In Por la Patria, the body of indigenous women, as a territory of conquest, is the subject of multiple oppressions. However, the main character Coya/Coa, tries to challenge official history by rewriting the margins to decolonize and depatriarchalized the female body.
The politicization of the maternal function has found recurrent manifestations throughout history, one of which was the maternalistic and eugenic ideology adopted by totalitarianisms in complicity with the Catholic Church. Women who relegated the maternal function risked the family institution and hence, the State, falling out of the established order and becoming monstrous. In Diamela Eltit´s El cuarto mundo, published during Chilean dictatorship, mothers are positioned in the place of desire, the forbidden, resignifying motherhood parameters as the basis of the feminine.
(1981) de Dacia Maraini y Para no volver (1985) de Esther Tusquets son representaciones literarias que utilizan como intertexto los discursos de debate social que había instaurado el movimiento, entre ellos, la crítica al modelo patriarcal del psicoanálisis, la pugna por el derecho al aborto, el lesbianismo y la necesidad de las mujeres de disponer libremente de sus cuerpos, contribuyendo así a visibilizar el terreno ganado en materia de derechos y lo que quedará todavía pendiente para décadas sucesivas./
This article analyzes the changes within the Italian and Spanish feminist movements in the 80’s. It explores the diversification of the feminist movement, more evident in the Spanish case than in the Italian one, where heterogeneity had been brewing from the beginning of the 70’s. The feminist movement also inluenced literature in those years. In this sense, Lettere a Marina (1981) by Italian author Dacia Maraini and Para no volver (1985) by Spanish author Esther Tusquets are literary representations
encompassing social debate discourses established by the feminist movement as intertexts. Such discourses include criticism to the patriarchal psychoanalytic model, struggle for abortion rights, lesbianism and women’s need to decide about their own bodies. Therefore, this literature contributed to expose their achievements concerning women’s rights and to focus on what was yet to be done in the succeeding decades.
Focusing on the novel Impuesto a la carne (2010) by Diamela Eltit, this paper analyses the way in which the biopolitical paradigm develops an excessive control over the bodies, 'legitimizing' different forms of violence and risking falling into a thanatopolitics. The metaphor of the hospital -as a symbolic space resembling the State- relates to the memory of the dictatorship and the years of oppression in Chile. In Eltit's novel, a mother and a daughter, projecting themselves onto the other in a symbiotic relationship of anarchical forces, will threaten the stability of this 'hospital State' opposing a staunch resistance.
Throughout the characters of Esther Tusquets’ novel, El mismo mar de todos los veranos (1978), this article analyses how lesbianism becomes progressively visible in Spanish society during the transition to democracy after Franco’s regime. The materialization of this desire, still regarded as deviated, acts as a subversive element opposing the strict gender role stereotypes established during that dictatorship.
This article analyzes the film “La cámara oscura” by Argentinean Director María Victoria Menis from a gender perspective, suggesting a new aesthetics and representation of the female body, as well as an alternative to those stereotyped ways of perception from Hollywood’s classic cinema.
Il presente articolo analizza il romanzo Donna in guerra di Dacia Maraini nel contesto degli anni settanta, considerando la progressiva presa di coscenza della violenza che l’ordine istituito esercita sul corpo femminile. La decade del settanta in Italia costituisce un punto di rottura e di rifiuto dell’ordine patriarcale ereditato, a partire dal quale sorge un’apertura verso il cambiamento.
Interviews by Paola Susana Solorza
Esta entrevista fue realizada el 2 de mayo de 2014, en ocasión de la visita de la escritora a la Argentina para participar en el encuentro “Diálogo de Escritores Latinoamericanos”, realizado en la 40a Feria Internacional del Libro de Buenos Aires. Antes del encuentro, Diamela Eltit se prestó, con amabilidad, a la entrevista en un viejo hotel del barrio de Palermo, café de por medio./
Diamela Eltit (1949-). Chilean writer, cofounder, along with Raúl Zurita of the Colectivo Acciones de Arte (CADA, Art Actions Collective), Eltit broke into the literary scene in the 1970s. She became more widely known in the 1980s with the launch of her book of essays, Una milla de cruces sobre el pavimento (1980, A mile of crosses on the pavement). She has published numerous novels, some significant early titles including Lumpérica (1983), Por la Patria (1986), El cuarto mundo (1988) and Los vigilantes (1994). Among her more recent titles are Jamás el fuego nunca (2007), Impuesto a la carne (2010) y Fuerzas especiales (2013). She has earned many awards and distinctions, such as the José Donoso Prize in 2010 and the Altazor Prize in 2014 for her latest novel, Fuerzas especiales. She is also Distinguished Global Professor of creative writing in Spanish at New York University (NYU).
This interview was conducted on May 2, 2014 while the writer was visiting Argentina as part of the “Dialogue of Latin American Writers,” during the 40th International Book Fair in Buenos Aires. Before the meeting, Diamela Eltit kindly provided this interview over coffee at an old Palermo neighborhood hotel.
Luisa Muraro is one of the main exponents of Italian feminism. Internationally well-known, she founded the Milan Women´s Bookstore and the philosophical feminine community at the University of Verona called Diotima. Some of her books were translated into Spanish such as Guillerma y Maifreda. Historia de una herejía feminista (1997) [1985] and El orden simbólico de la madre (1994) [1991]. She has also coauthored No creas tener derechos. La generación de la libertad femenina en las ideas y las vivencias de un grupo de mujeres (1991) [1987] and Diotima. Traer al mundo el mundo. Objeto y objetividad a la luz de la diferencia sexual (1996) [1990], among many other books. Her most recent book Dio è violent (2012) is a research on the origins of violence and its different ways of manifestation in contemporary societies.
Papers by Paola Susana Solorza
En España, sin embargo, la influencia de los ideales revolucionarios no se volverá manifiesta hasta 1975, dado que hasta ese momento el país siguió sometido a la dictadura franquista.
alternativa y disidente./
This article proposes a re-reading of Lina Meruane’s novel Sangre en el ojo (2012) from the perspective of the theory and criticism of memory, and its relationship with Chile’s most recent history. The disease that affects the main character becomes an ideological blindness which accounts for the forgetfulness or induced oblivion that the social body has suffered with regard to the abuses of power perpetrated by Pinochet´s regime. Replicating impunity and injustice, the system is constantly updating the dictatorial trauma. In this sense, Sangre en el ojo may even be read as a
symbolic anticipation of the events that occurred from October 18th, 2019, with the so-called Chilean Awakening where State repression focused on a programmatic eye mutilation in order to discourage protests. This work explores the origins of blindness/forgetfulness and the struggle to recover an alternative and dissident gaze/memory.
This article reflects on coercion and exclusion practices that implement the necropolitics of the neoliberal model, through the analysis of the two novels by the Chilean author Diamela Eltit, Mano de obra (2002) and Impuesto a la carne (2010). The dictatorship of the market has exacerbated the mechanisms of control over the bodies and the feminization of poverty shows that women are the ones who suffer the most from the exclusion and oppression of a regulation determined by capitalist accumulation. However, in both novels, female characters operate as potential agents of change, generating small "places of contempt" or minority spheres of resistance that will challenge the utilitarian logic and global dominance of capital.
This work focalizes in a deleuzian and guattarian perspective of language in two novels of the Chilean writer Diamela Eltit, Lumpérica (1983) and Los vigilantes (1994), considering the concepts of “agramaticality”, “deterritorialization”, “lines of flight” and “becoming minor” in the representation of marginal corporalities and subjectivities. Most of Eltit´s characters are crossed by an oppressive power that tries to make them fit in a system –understood as an ensemble of forces in which many social variables crosslink and converge in the persistence of a dictatorial regime- and however, these corporalities and subjectivities ended up subverting its logic. This is possible through a particular use of language which breaks the signifying chain integrating atypical expressions such as babbles, screeches, rictus. Ultimately, it refers to a minor language which generates a “clandestine becoming” in the limits of the unnamable.
This article analyses the representation of the female body from the interaction of two categories: gender and race. In line with the category of gender as a social construction, theorists of Postcolonial Studies have emphasized the fact that race is also a social construction that was historically naturalized in order to legitimize the conquest and possession of territory. In Por la Patria, the body of indigenous women, as a territory of conquest, is the subject of multiple oppressions. However, the main character Coya/Coa, tries to challenge official history by rewriting the margins to decolonize and depatriarchalized the female body.
The politicization of the maternal function has found recurrent manifestations throughout history, one of which was the maternalistic and eugenic ideology adopted by totalitarianisms in complicity with the Catholic Church. Women who relegated the maternal function risked the family institution and hence, the State, falling out of the established order and becoming monstrous. In Diamela Eltit´s El cuarto mundo, published during Chilean dictatorship, mothers are positioned in the place of desire, the forbidden, resignifying motherhood parameters as the basis of the feminine.
(1981) de Dacia Maraini y Para no volver (1985) de Esther Tusquets son representaciones literarias que utilizan como intertexto los discursos de debate social que había instaurado el movimiento, entre ellos, la crítica al modelo patriarcal del psicoanálisis, la pugna por el derecho al aborto, el lesbianismo y la necesidad de las mujeres de disponer libremente de sus cuerpos, contribuyendo así a visibilizar el terreno ganado en materia de derechos y lo que quedará todavía pendiente para décadas sucesivas./
This article analyzes the changes within the Italian and Spanish feminist movements in the 80’s. It explores the diversification of the feminist movement, more evident in the Spanish case than in the Italian one, where heterogeneity had been brewing from the beginning of the 70’s. The feminist movement also inluenced literature in those years. In this sense, Lettere a Marina (1981) by Italian author Dacia Maraini and Para no volver (1985) by Spanish author Esther Tusquets are literary representations
encompassing social debate discourses established by the feminist movement as intertexts. Such discourses include criticism to the patriarchal psychoanalytic model, struggle for abortion rights, lesbianism and women’s need to decide about their own bodies. Therefore, this literature contributed to expose their achievements concerning women’s rights and to focus on what was yet to be done in the succeeding decades.
Focusing on the novel Impuesto a la carne (2010) by Diamela Eltit, this paper analyses the way in which the biopolitical paradigm develops an excessive control over the bodies, 'legitimizing' different forms of violence and risking falling into a thanatopolitics. The metaphor of the hospital -as a symbolic space resembling the State- relates to the memory of the dictatorship and the years of oppression in Chile. In Eltit's novel, a mother and a daughter, projecting themselves onto the other in a symbiotic relationship of anarchical forces, will threaten the stability of this 'hospital State' opposing a staunch resistance.
Throughout the characters of Esther Tusquets’ novel, El mismo mar de todos los veranos (1978), this article analyses how lesbianism becomes progressively visible in Spanish society during the transition to democracy after Franco’s regime. The materialization of this desire, still regarded as deviated, acts as a subversive element opposing the strict gender role stereotypes established during that dictatorship.
This article analyzes the film “La cámara oscura” by Argentinean Director María Victoria Menis from a gender perspective, suggesting a new aesthetics and representation of the female body, as well as an alternative to those stereotyped ways of perception from Hollywood’s classic cinema.
Il presente articolo analizza il romanzo Donna in guerra di Dacia Maraini nel contesto degli anni settanta, considerando la progressiva presa di coscenza della violenza che l’ordine istituito esercita sul corpo femminile. La decade del settanta in Italia costituisce un punto di rottura e di rifiuto dell’ordine patriarcale ereditato, a partire dal quale sorge un’apertura verso il cambiamento.
Esta entrevista fue realizada el 2 de mayo de 2014, en ocasión de la visita de la escritora a la Argentina para participar en el encuentro “Diálogo de Escritores Latinoamericanos”, realizado en la 40a Feria Internacional del Libro de Buenos Aires. Antes del encuentro, Diamela Eltit se prestó, con amabilidad, a la entrevista en un viejo hotel del barrio de Palermo, café de por medio./
Diamela Eltit (1949-). Chilean writer, cofounder, along with Raúl Zurita of the Colectivo Acciones de Arte (CADA, Art Actions Collective), Eltit broke into the literary scene in the 1970s. She became more widely known in the 1980s with the launch of her book of essays, Una milla de cruces sobre el pavimento (1980, A mile of crosses on the pavement). She has published numerous novels, some significant early titles including Lumpérica (1983), Por la Patria (1986), El cuarto mundo (1988) and Los vigilantes (1994). Among her more recent titles are Jamás el fuego nunca (2007), Impuesto a la carne (2010) y Fuerzas especiales (2013). She has earned many awards and distinctions, such as the José Donoso Prize in 2010 and the Altazor Prize in 2014 for her latest novel, Fuerzas especiales. She is also Distinguished Global Professor of creative writing in Spanish at New York University (NYU).
This interview was conducted on May 2, 2014 while the writer was visiting Argentina as part of the “Dialogue of Latin American Writers,” during the 40th International Book Fair in Buenos Aires. Before the meeting, Diamela Eltit kindly provided this interview over coffee at an old Palermo neighborhood hotel.
Luisa Muraro is one of the main exponents of Italian feminism. Internationally well-known, she founded the Milan Women´s Bookstore and the philosophical feminine community at the University of Verona called Diotima. Some of her books were translated into Spanish such as Guillerma y Maifreda. Historia de una herejía feminista (1997) [1985] and El orden simbólico de la madre (1994) [1991]. She has also coauthored No creas tener derechos. La generación de la libertad femenina en las ideas y las vivencias de un grupo de mujeres (1991) [1987] and Diotima. Traer al mundo el mundo. Objeto y objetividad a la luz de la diferencia sexual (1996) [1990], among many other books. Her most recent book Dio è violent (2012) is a research on the origins of violence and its different ways of manifestation in contemporary societies.
En España, sin embargo, la influencia de los ideales revolucionarios no se volverá manifiesta hasta 1975, dado que hasta ese momento el país siguió sometido a la dictadura franquista.