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Transvestite Narratives in Nineteenth- and Twentieth-Century Hispanic Authors: Using the Voice of the Opposite Gender
| Author: | Gilmour, Nicola M. | |
| Year: | 2008 | |
| Pages: | 360 | |
| ISBN: | 0-7734-5083-1 978-0-7734-5083-7 | |
| Price: | $239.95 | |
This study offers new insights into the works of canonical nineteenth-century authors, Emilia Pardo Bazán and Benito Pérez Galdós, and into those of the twentieth-century writers, Cristina Peri Rossi and Antonio Gala. The work questions the view that these transvestite narratives subvert traditional images of gender and the act of literary creation.
Reviews
“Illuminating and at times provocative, Nicola Gilmour’s book is set to open up a new area of literary research in Spanish studies whose relevance and significance can hardly be over-emphasised.” - Dr. Alfredo Martínez Expósito, Associate Professor in Spanish, The University of Queensland, Australia
“. . . Gilmour addresses contextual factors pertaining to gender, sexuality and class, and metafictional matters such as “high” versus “low” culture and literary schools. The result is an ambitious and complex project which often challenges established critical opinion on the subject areas, and critiques and expands the theoretical frameworks relating to transvestism.”- Christine Arkinstall, Associate Professor, Head of Spanish, The University of Auckland
“. . . offers a genuinely critical approach to theory, questioning as it does assumptions about the subversive nature of transvestite narratives.” - Dr. Stewart King, Convenor, Spanish and Latin American Studies Program
“This is an impressive study whose focus spans a hundred year period of Hispanic literary history.”- Dr. Craig Patterson, School of European Studies, Cardiff University
“. . . Gilmour addresses contextual factors pertaining to gender, sexuality and class, and metafictional matters such as “high” versus “low” culture and literary schools. The result is an ambitious and complex project which often challenges established critical opinion on the subject areas, and critiques and expands the theoretical frameworks relating to transvestism.”- Christine Arkinstall, Associate Professor, Head of Spanish, The University of Auckland
“. . . offers a genuinely critical approach to theory, questioning as it does assumptions about the subversive nature of transvestite narratives.” - Dr. Stewart King, Convenor, Spanish and Latin American Studies Program
“This is an impressive study whose focus spans a hundred year period of Hispanic literary history.”- Dr. Craig Patterson, School of European Studies, Cardiff University
Table of Contents
Foreword by Dr. Alfredo Martínez Expósito
Acknowledgements
1. The Best of Both Worlds: Transvestism, Festishism and Perverse Narrations
2. Strategies of Oscillation: Transvestite Theories of Art in Cristina Peri Rossi’s Fantasías eróticas
3. Mothers, Muses and Male Narrators: Fetishism and Metafiction in Peri Rossi’s Solitario de amor
4. Turkish Delight: Oriental Phallacies in Antonio Gala’s La passion turca
5. Phantoms and Femininity: Emilia Pardo Bazán and Construction of Woman and Gender
6. Androgynous Alternatives: Pardo Bazán’s Doña Milagros and Memorias de un solterón
7. “Rascally Dualities”: Pardo Bazán’s Concept of Literary Production and Genre
8. A Romantic Confession: Genara de Baraona and Benito Pérez Galdós
Conclusion: Differences that Make a Difference
Works Cited
Index
Acknowledgements
1. The Best of Both Worlds: Transvestism, Festishism and Perverse Narrations
2. Strategies of Oscillation: Transvestite Theories of Art in Cristina Peri Rossi’s Fantasías eróticas
3. Mothers, Muses and Male Narrators: Fetishism and Metafiction in Peri Rossi’s Solitario de amor
4. Turkish Delight: Oriental Phallacies in Antonio Gala’s La passion turca
5. Phantoms and Femininity: Emilia Pardo Bazán and Construction of Woman and Gender
6. Androgynous Alternatives: Pardo Bazán’s Doña Milagros and Memorias de un solterón
7. “Rascally Dualities”: Pardo Bazán’s Concept of Literary Production and Genre
8. A Romantic Confession: Genara de Baraona and Benito Pérez Galdós
Conclusion: Differences that Make a Difference
Works Cited
Index