In this Dissertation I reflected on the Poetics of the Body in the work of Carmen Cecilia Suárez, a contemporary Colombian writer and poet. I examined the literary influence of Un vestido rojo para bailar boleros (1988), which exposed the cultural patriarchal fabric that originates the colonized feminine subject in Colombia; and, in the achievement of this exposition, outstanding feminist literary critics of this country, such as María Mercedes Jaramillo, Angela Inés Robledo, Betty Osorio and Helena Araújo, were true sources of inspiration.
We approached the notion of Woman focusing on the processes that favor the body as a "space of empowerment", especially acknowledging the birth of the Butterfly Woman, main metaphor of self-representation of the author; in the literary fashion of Hélène Cixous, we analyzed the struggles of hers `to speak otherwise'. Thus, Lilith became the icon whom other feminine figures depart from; the icon constitutes the core of the "aesthetics of disobedience" that in this Dissertation stems from the Argentine literary critic Susana Reisz; among those figures we literalized the Witch Woman and the Prostitute Woman.
I have structured my study, with what I called the Centripetal Poetics (or the feminine individual body) and the Centrifugal Poetics (or the feminine social body); from the perspective of the first, we illustrated the "ethical conception" that resembles the philosophical approach to literature of Luce Irigaray, where the heterosexual couple becomes a "metaphor of sexual difference". It was staged in "La casa azul" of El séptimo ciclo (1992) and "Cuento de amor en cinco actos" of Cuento de amor en cinco actos (1997); in these analysis as well as the travesty performance of "Anorexia", we included important insights of Judith Butler.
From the perspective of the second, we accomplished "the epic feat" of consolidating the multistratified (multifaceted-multispatial-multitemporal) Feminist Feminine Subject, called the Nomadic Woman (or in terms of our writer the New Woman); we valued the literary feminist theory of Rossi Braidotti which reflected in our exploration of several short stories of La otra mitad de la vida (2001).
In the Poetics of Secret Spaces, where the author continued elaborating the postmodern condition (poscolonial, posthuman, postgender) of that Feminist Feminine Subject, we came closer to several poems of Espacios secretos (2002) and Poemas del insomnio (después del vino) (2005); we enter the field of the Cyborg Woman and the Simulacrum Woman respectively. In Retazos en el tiempo (2010), the New Butterfly Woman was born; parting from the poem "Zen", Zen was examined as an aesthetic fiction based on the "semiotics of the mandala", a formalization of a "dream of multiple dimensions" of the writer, where she continued developing her art of erotic invention, as the Poetics of Yin-Yang.
|Commitee:||Guinazu, Cristina, Martinez, Elena, Perkowska, Magdalena|
|School:||City University of New York|
|Department:||Hispanic & Luso Brazilian Literatures & Languages|
|School Location:||United States -- New York|
|Source:||DAI-A 74/06(E), Dissertation Abstracts International|
|Subjects:||Latin American literature, Womens studies, Gender studies|
|Keywords:||Colombia, Erotic, Escritura erotica femenina, Feminist feminine, Mujer nomada, Poetica del cuerpo femenino, Poetics of the body, Sistema sexo-genero, Suarez, Carmen Cecilia, Sujeto femenino feminista, Zen|
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