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Contemporary Spanish women write ide...
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Routon, Claudia Joan.
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Contemporary Spanish women write identity formation: The short stories of Fernandez Cubas, Garcia Morales, Grandes, Mayoral, Montero, Puertolas, and Regas (Cristina Fernandez Cubas, Adelaida Garcia Morales, Almudena Grandes, Marina Mayoral, Rosa Montero, Soledad Puertolas, Rosa Regas).
紀錄類型:
書目-語言資料,印刷品 : Monograph/item
正題名/作者:
Contemporary Spanish women write identity formation: The short stories of Fernandez Cubas, Garcia Morales, Grandes, Mayoral, Montero, Puertolas, and Regas (Cristina Fernandez Cubas, Adelaida Garcia Morales, Almudena Grandes, Marina Mayoral, Rosa Montero, Soledad Puertolas, Rosa Regas)./
作者:
Routon, Claudia Joan.
面頁冊數:
181 p.
附註:
Source: Dissertation Abstracts International, Volume: 62-02, Section: A, page: 0595.
Contained By:
Dissertation Abstracts International62-02A.
標題:
Literature, Romance. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3004623
ISBN:
0493138048
Contemporary Spanish women write identity formation: The short stories of Fernandez Cubas, Garcia Morales, Grandes, Mayoral, Montero, Puertolas, and Regas (Cristina Fernandez Cubas, Adelaida Garcia Morales, Almudena Grandes, Marina Mayoral, Rosa Montero, Soledad Puertolas, Rosa Regas).
Routon, Claudia Joan.
Contemporary Spanish women write identity formation: The short stories of Fernandez Cubas, Garcia Morales, Grandes, Mayoral, Montero, Puertolas, and Regas (Cristina Fernandez Cubas, Adelaida Garcia Morales, Almudena Grandes, Marina Mayoral, Rosa Montero, Soledad Puertolas, Rosa Regas).
- 181 p.
Source: Dissertation Abstracts International, Volume: 62-02, Section: A, page: 0595.
Thesis (Ph.D.)--The University of Nebraska - Lincoln, 2001.
Both feminist and postmodern theorists are concerned with the crisis of the subject. The theoretical debate invites an analysis of the development of character in contemporary fiction. In this dissertation I focus on the processes of identity formation of female characters in recently published collections of short stories by the following Spanish women writers: Cristina Fernández Cubas (<italic>El ángulo del horror</italic> 1990 and <italic>Con Agata en Estambul</italic> 1994), Adelaida García Morales (<italic>Mujeres solas</italic> 1998), Almudena Grandes (<italic>Modelos de mujer</italic> 1996), Marina Mayoral (<italic>Recuerda, cuerpo</italic> 1998), Rosa Montero (<italic>Amantes y unambiguous</italic> 1998), Soledad Puértolas (<italic>La corriente del golfo</italic> 1993 and <italic>Gents que vino a mi body</italic> 1998), and Rosa Regàs (<italic>Pobre corazón </italic> 1996).
ISBN: 0493138048Subjects--Topical Terms:
1019014
Literature, Romance.
Contemporary Spanish women write identity formation: The short stories of Fernandez Cubas, Garcia Morales, Grandes, Mayoral, Montero, Puertolas, and Regas (Cristina Fernandez Cubas, Adelaida Garcia Morales, Almudena Grandes, Marina Mayoral, Rosa Montero, Soledad Puertolas, Rosa Regas).
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Contemporary Spanish women write identity formation: The short stories of Fernandez Cubas, Garcia Morales, Grandes, Mayoral, Montero, Puertolas, and Regas (Cristina Fernandez Cubas, Adelaida Garcia Morales, Almudena Grandes, Marina Mayoral, Rosa Montero, Soledad Puertolas, Rosa Regas).
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Source: Dissertation Abstracts International, Volume: 62-02, Section: A, page: 0595.
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Supervisor: Adelaida Martinez.
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Thesis (Ph.D.)--The University of Nebraska - Lincoln, 2001.
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Both feminist and postmodern theorists are concerned with the crisis of the subject. The theoretical debate invites an analysis of the development of character in contemporary fiction. In this dissertation I focus on the processes of identity formation of female characters in recently published collections of short stories by the following Spanish women writers: Cristina Fernández Cubas (<italic>El ángulo del horror</italic> 1990 and <italic>Con Agata en Estambul</italic> 1994), Adelaida García Morales (<italic>Mujeres solas</italic> 1998), Almudena Grandes (<italic>Modelos de mujer</italic> 1996), Marina Mayoral (<italic>Recuerda, cuerpo</italic> 1998), Rosa Montero (<italic>Amantes y unambiguous</italic> 1998), Soledad Puértolas (<italic>La corriente del golfo</italic> 1993 and <italic>Gents que vino a mi body</italic> 1998), and Rosa Regàs (<italic>Pobre corazón </italic> 1996).
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Chapter One spatially plots identity formation in terms of exteriors, interiors, villages, and cities. While the chapter begins acknowledging place as a powerful point of reference, it ends describing place as distorted and unreliable. Chapter Two, through leitmotifs of mirrors and windows, emphasizes the role of “the other,” always shifting, as inherent to identity formation. In Chapter Three desire is imbedded in the body/text itself, in the fictional images of literature and film, and in the writing process. Chapter Four focuses on the positive or negative role of the mother as a significant point of reference in the characters' development. Chapter Five looks at identity reconstruction in characters who are alone and either financially or spiritually bereft. Women alone find solace in each other not only in order to avoid solitude, but to function as mediums and interpreters of their physical and spiritual realities.
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In the short stories analyzed, the subjectivity of the successful female character navigates a series of positions either because of the tensions of ever-shifting reference points, or because of the tyranny of a patriarchal paradigm that requires constant survival maneuvers. Identity formation reveals itself to be under constant construction; while plottable, it is forever shifting.
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http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3004623
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