By Mary Green
The Chilean writer, Diamela Eltit, whose paintings spans the sessions of the Pinochet dictatorship (1973-1990) and the Transition to Democracy (1990-), is likely one of the such a lot leading edge and hard writers in modern Latin the USA. This booklet makes a speciality of the illustration of motherhood in Eltit's first six novels and, via a chronological sequence of shut readings, argues that the maternal physique and mother-child family are the most important for an knowing of the severe problem posed through Eltit's narrative oeuvre, too often brushed aside as 'hermetic'. An research of the novels' constitution and language unearths how Eltit seeks to reconfigure the principles of symbolic buildings and so include the mummy as an issue. even supposing the examine attracts on a feminist psychoanalytic framework to discover Eltit's non-stop disarticulation of key strategies that emanate from the West, particularly relating to the formation of gender and sexuality, the paintings of the key Chilean cultural theorist, Nelly Richard, can be used to situate Eltit's paintings in the political and cultural context of Chile.
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Extra resources for Diamela Eltit: Reading the Mother (Monografías A)
La La estratificación de los márgenes: sobre arte, cultura y política/s (Santiago: Francisco Zegers, 1989), p. 64; emphasis hers. 108 ‘Feminismo, experiencia y representación’, p. 738. 109 ‘Feminismo, experiencia y representación’, p. 742. 110 See Kristeva, Revolution in Poetic Language, pp. 68–71. 111 Julia Kristeva, ‘Talking about Polylogue’, in Feminist Literary Theory: A Reader, ed. by Mary Eagleton, 2nd edn (Oxford: Blackwell, 1996), pp. 301–3 (p. 303). ’ 112 Nevertheless, it is important to note that there are differences as well as similarities between Eltit and Richard, resulting in a productive tension between their work.
By Leon S. Roudiez and trans. by Thomas Gora, Alice Jardine and Leon S. Roudiez (New York: Columbia University Press, 1980), pp. 281–3. 30 34 MARY GREEN in the mirror is partial. Her reflection becomes fainter and fissured when she stands below the beam of the ‘luminoso’, which suggests that she will never be a coherent, full and visible whole, representable within the symbolic variety of meaning. 34 Notably, this process of cutting no longer involves the erasure of the female body from the screen of representation (a point to which I will return) nor self-wounding, as it did throughout the previous chapters.
See Avelar, p. 169; and Christ, in E. Luminata (see Eltit), p. 214; emphasis his. 23 Lazzara, p. 31; emphasis in the original. Piña, p. 235. Iluminada. The plaza exists in a self-contained state, where every element achieves a visibility that is seemingly witnessed solely by the reader, as dazzling light pours forth from the ‘luminoso’ into the abandoned and lustreless city that is Santiago de Chile. 24 The pages of the novel are frequently used by Eltit as a stage, scenario or canvas, which beckon the reader into a realm of violent spectacle where reading is transformed into watching as a series of projected images fleet by.
Diamela Eltit: Reading the Mother (Monografías A) by Mary Green