By Judith A. Payne
During this first book-length research to match the recent novels of either Spanish the United States and Brazil, the authors deftly research the differing perceptions of ambiguity as they follow to questions of gender and the participation of women and men within the institution of Latin American narrative types. Their bold thesis: the Brazilian new novel built a extra radical shape than its better-known Spanish-speaking cousin since it had a considerably varied method of the the most important problems with ambiguity and gender and since such a lot of of its significant practitioners have been women.As a sensible technique for assessing the canonical new novels from Latin the US, the coupling of ambiguity and gender allows Payne and Fitz to debate how borders--literary, general, and cultural--are maintained, challenged, or crossed. Their conclusions remove darkness from the contributions of the recent novel by way of experimental buildings and narrative options in addition to the numerous roles of voice, subject, and language. utilizing Jungian conception and a poststructural optic, the authors additionally exhibit how the Latin American new novel faces such common topics as delusion, time, fact, and truth. maybe the main unique point in their research lies in its research of Brazil's robust lady culture. right here, matters resembling replacement visions, contrasexuality, self-consciousness, and ontological hypothesis achieve new which means for the way forward for the unconventional in Latin America.With its comparative method and its many bilingual quotations, a"Ambiguity and Gender within the New Novel of Brazil and Spanish America"aoffers a fascinating photograph of the marked transformations among the literary traditions of Portuguese-speaking and Spanish-speaking the US and, hence, new insights into the designated mindsets of those linguistic cultures."
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Extra resources for Ambiguity and gender in the new novel of Brazil and Spanish America: a comparative assessment
Thus, the text itself denies any clearly privileged viewpoint; truth is relative, a functionas Machado had earlier made clearof the reader and the reader's sense of who and what we are and the language we use to express ourselves. Indeed, the famous final pages of Vidas Sêcas continue to generate debate not only because of the openended quality of the action and the fate of the characters but because of the "language" (animal-like) they speak. Although a definitive interpretation of the family's fate is impossible to render, the text nevertheless implies that it is the woman's voice that finally emerges as the dominant force in determining what the family's future will be.
For Brazilian writers who followed Machado, such as Oswald de Andrade, Graciliano Ramos, Guimarães Rosa, Osman Lins, Lygia Fagundes Telles, Nélida Piñon, and Clarice Lispector, the concept of binary opposition, which in other traditions rigidly delimits reality and establishes the hierarchies that define and uphold Truth, has come to be viewed as a mutable, fluid part of a complex and unstable whole, in which opposing elements are found simultaneouslybut in flux, relative to changing circumstancesin the same entity.
Fundamentally, the difference is a function of the relation between language and being (or literary art and "reality"). After the liberating experience of Machado de Assis (especially the post-1880 works), Brazilian writers and critics had before them a series of texts that, beyond their very real sociopolitical significance, presented language as a self-referential semiotic system, one that (because of the ontological questions involved) results naturally in a freer, less convention-bound handling of such technical concerns as gender, voice, and the reader's role in the production of meaning.