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La Retórica Del Placer: Cuerpo, Magia, Deseo Y Subjetividad En Cinco Novelas De Gioconda Belli

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La Retórica Del Placer: Cuerpo, Magia, Deseo Y Subjetividad En Cinco Novelas De Gioconda Belli La Retórica del Placer: Cuerpo, Magia, Deseo y Subjetividad en Cinco Novelas de Gioconda Belli Item Type text; Electronic Dissertation Authors Urzúa-Montoya, Miriam Rocío Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 27/09/2021 09:25:59 Link to Item http://hdl.handle.net/10150/238652 1 LA RETÓRICA DEL PLACER: CUERPO, MAGIA, DESEO Y SUBJETIVIDAD EN CINCO NOVELAS DE GIOCONDA BELLI by Miriam Rocío Urzúa-Montoya _____________________ A Dissertation Submitted to the Faculty of the DEPARTMENT OF SPANISH AND PORTUGUESE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN SPANISH In the Graduate College THE UNIVERSITY OF ARIZONA 2012 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Miriam Rocío Urzúa-Montoya entitled La retórica del placer: Cuerpo, magia, deseo y subjetividad en cinco novelas de Gioconda Belli and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy _______________________________________________________________________ Date: May 16, 2012 Laura G. Gutiérrez _______________________________________________________________________ Date: May 16, 2012 Melissa A. Fitch _______________________________________________________________________ Date: May 16, 2012 Amy R. Williamsen Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. ________________________________________________ Date: May 16, 2012 Dissertation Director: Laura G. Gutiérrez 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Miriam Rocío Urzúa-Montoya 4 AGRADECIMIENTOS Agradezco a mi directora, Dra. Laura Gutiérrez, por sus enseñanzas, invaluable paciencia, consejos y apoyo durante el proceso de completar este trabajo. Asimismo, mi reconocimiento a la Dra. Melissa Fitch y a la Dra. Amy Williamsen, por sus revisiones y comentarios que hicieron posible terminar esta disertación. También quiero agradecerles a mis profesores Dr. Malcolm Compitello, Dra. Eliana Rivero, Dr. Lanin Gyurko, Dr. Eliud Chuffe, Dr. Joan Gilabert y Dr. José Promis, por sus enseñanzas y dedicación durante los años de mi preparación académica. Finalmente, quiero darles las gracias a mis amigos y colegas del departamento porque estos años en el programa no hubieran sido los mismos sin las alegrías y momentos de presión académica que tuve el privilegio de compartir con ellos. 5 DEDICATORIA Me gustaría dedicar esta disertación a mi esposo, Chris, y a mi hija Mia; a mis padres, Juan y Rosa; a mis hermanas, Cinthya e Iliana; y a mis hermanos, Nacho, Pablo y Christian. Gracias por compartir conmigo mis triunfos y tristezas durante todos estos años. Su apoyo incondicional e inquebrantable fe en mí fueron mi fortaleza. Los amo. 6 ÍNDICE RESUMEN (ABSTRACT) ................................................................................................. 8 CAPÍTULO I: INTRODUCCIÓN .................................................................................... 10 1. Semblanza biográfica ................................................................................................ 13 2. Breve panorama del desarrollo de la literatura erótica femenina en Hispanoamérica ........................................................................................................ 22 3. El feminismo latinoamericano: Orígenes y perspectivas teóricas ............................. 27 4. La repolitización del cuerpo femenino ...................................................................... 41 5. El elemento mágico en la narrativa belliana ............................................................. 49 6. Organización de las novelas por capítulos ................................................................ 55 CAPÍTULO II: LA RECONSTRUCCIÓN DE LA SUBJETIVIDAD FEMENINA A TRAVÉS DEL CUERPO/SUJETO ERÓTICO Y DE LA MAGIA EN LA MUJER HABITADA, SOFÍA DE LOS PRESAGIOS Y WASLALA ................................................ 59 1. La mujer habitada: Resumen de la obra ................................................................... 61 2. Sofía de los presagios: Resumen de la obra .............................................................. 64 3. Waslala: Memorial del futuro: Resumen de la obra ................................................. 68 4. La redefinición de la subjetividad femenina por medio del cuerpo/sujeto erótico ... 73 5. La recuperación de la identidad a través de la magia ................................................ 95 CAPÍTULO III: (RE)IMAGINANDO/(RE)VISANDO LA SUBJETIVIDAD FEMENINA DESDE UN ENFOQUE FEMENINO/FEMINISTA EN FIGURAS HISTÓRICAS Y MÍTICAS EN EL PERGAMINO DE LA SEDUCCIÓN Y EL INFINITO EN LA PALMA DE LA MANO........................................................................................ 111 1. El pergamino de la seducción: Resumen de la obra ............................................... 114 2. El infinito en la palma de la mano: Resumen de la obra ........................................ 118 3. La revisión femenina y feminista de la vida de Juana I de Castilla ........................ 124 4. La rescritura feminista y femenina de Eva y la pérdida del Paraíso ....................... 139 4.1 El libro de Génesis y los dos relatos de la creación .......................................... 142 7 ÍNDICE - continuación 4.2 El mito de Adán y Eva como derivado de la mitología de las culturas ancestrales del Levante .............................................................................................................. 156 4.3 Lo femenino y el erotismo ................................................................................. 160 CAPÍTULO IV: CONCLUSIONES ............................................................................... 165 OBRAS CITADAS ......................................................................................................... 178 8 RESUMEN (ABSTRACT) En La retórica del placer: Cuerpo, magia, deseo y subjetividad en cinco novelas de Gioconda Belli analizo el papel que desempeña el cuerpo de la mujer en el discurso de Belli y las transgresiones que éste produce. Argumento que en la narrativa de Belli existe una retórica del placer y en ésta, las protagonistas transgreden la construcción del rol de género y de sexo que se ha fijado para la mujer en la cultura de las sociedades latinoamericanas a través de diferentes mecanismos de resistencia que realizan por medio de su cuerpo. En este sentido, las protagonistas emplean por lo menos una de las siguientes estrategias: 1) afirman y revalorizan lo femenino; por un lado, maquillándose y vistiéndose de manera muy atractiva y sensual—lo cual puede interpretarse como una contradicción—; sin embargo, emplean estas “armas milenarias de la feminidad” (La mujer 16), no para convertirse en objetos de placer para los hombres, sino para ellas mismas; y por otro, manifestando orgullosamente su intuición, su sensibilidad y su conexión con la naturaleza; 2) desempeñan otros roles de género saliéndose de los patrones que tan estrictamente han sido establecidos para la mujer; y por último, 3) gozan abiertamente de su erotismo para redefinir su sexualidad y otorgarse poder. El apoyo teórico que empleo para analizar las novelas antes señaladas se compone primeramente de las premisas críticas sobre la sexualidad de Lucía Guerra-Cunningham, Amy K. Kaminsky y Diane E. Marting. Además, las teorizaciones de Barbara Loach y Michel Foucault, principalmente, son utilizadas para explicar el concepto de poder y su relación con el cuerpo. Asimismo recurro a los conceptos teóricos sobre erotismo de 9 Georges Bataille, a las conceptualizaciones del realismo mágico de Wendy B. Faris y de “lo real maravilloso” de Alejo Carpentier, y a las perspectivas teóricas del carácter ficticio de los discursos históricos de Hayden White. Tras mi análisis de La mujer habitada, Sofía de los presagios y Waslala, concluyo que las protagonistas se construyen una nueva subjetividad por medio de algunas técnicas de resistencia que realizan a través de su cuerpo y “mágicamente” al fusionarse o reencontrarse con mujeres antiguas o con sus madres, porque al hacerlo, recuperan su pasado y obtienen el poder que necesitan para re-construir la nación o re-integrarse a la sociedad.
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