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Spanish Women's Poetry of the 1980S and 1990S

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Spanish Women's Poetry of the 1980S and 1990S PERIPHERAL VISIONS: SPANISH WOMEN’S POETRY OF THE 1980S AND 1990S DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Tracy Manning Muñoz, B.A., M.A. ***** The Ohio State University 2006 Dissertation Committee: Professor Stephen J. Summerhill, Adviser Approved by Professor Rebecca Haidt _____________________________ Adviser Professor Elizabeth Davis Graduate Program in Spanish and Portuguese Copyright by Tracy Manning Muñoz 2006 ABSTRACT This dissertation examines the use of vision (the sense of sight) and visuality (social seeing) in four women poets of the 1980s and 1990s in Spain: Ana Rossetti, Maria- Mercè Marçal, Aurora Luque, and Montserrat Abelló. All four combine the use of vision and visuality with questions of gender performance and identity as a challenge to normative and culturally constructed gender(ed) behavior. The very fact that the majority of the lyric voices in their poems does not have a defined gender, as many of the people that they view do not, permits them to move from subjectivation to subjectification. Through the manifestation of gender “difference,” the various lyric voices leave behind their status as marginalized members of Western gendered culture. Although not all of the lyric voices are ungendered or ambiguously gendered, sufficient questions of, and challenges to normative gendered behavior exist to warrant including these four poets in the same study, despite their ostensible differences. The theoretical framework for this study focuses on Freudian ideas of voyeurism and exhibitionism as well as pleasurable and unpleasurable looking (scopophilia and scopophobia), Foucauldian ideas of power, and Lacanian ideas of the mirror stage and subjectivity. The major flaw with all three when applying them to the poetic texts is that they all base their ideas on the normative man/woman binary. This by extension implies the subjection of the lyric voices, and the people and objects that they view, to what Judith ii Butler calls the heterosexual matrix. This idea assumes the “natural” existence of two genders, men and women, with the sexual relationships between them the only and “natural” option. This leaves out all other manifestations of gender as non-existent or deviant at the very least. Despite the distinctions between their works, due to writing at different times, with different approaches, and also from different cultural experiences (Rossetti and Luque write in Spanish, Marçal and Abelló write in Catalan), all four demonstrate the possibility of a world, literary or otherwise, in which normative gender(ed) performance can and should be a concept of the past. iii Dedicated to Lannie, MJ, Kiddo, and El Mejor Uno iv ACKNOWLEDGMENTS First and foremost, I would like to thank my husband, Mauricio, for all of his love, support, and encouragement through this long endeavor. It would have been impossible without you. I look forward to life with you post-dissertation, but I still expect you to help clean the house. I thank my adviser, Steve Summerhill, for his guidance and patience throughout this sometimes trying process. Our lunch-time conversations have been wonderful and I hope they continue for years to come. I would also like to thank my committee members Elizabeth Davis and Rebecca Haidt. Elizabeth for assuring me, many years ago, that I would survive the program and Rebecca for introducing me to questions of gender and giving me the knowledge to pursue this project. I thank my friends, particularly Melanie, for coffees, lunches, breaks, and listening when I needed a sounding board. Aurora Luque and Montserrat Abelló were indispensable in the information that they provided to me. I am forever grateful to them for the time they took to help me and the help they continue to give. Many people in Madrid and Barcelona made this project better in little ways. Thank you to all who were willing to lend a hand when I needed it. v The research I did for this project was funded by grants I received from various sources at The Ohio State University. Thank you to the Department of Spanish and Portuguese for the Karpus and LoAnne Crane Awards, The Center for Latin American Studies for the Tinker Field Research Grant, and the Office of International Affairs for the Graduate Student International Dissertation/MA Thesis Research Travel Grant. Without those funds I would never have been able to learn Catalan and use invaluable resources in both Madrid and Barcelona. Last but not least, I would like to thank my family for all of their help, support, and friendly ears. This especially goes to my mother who listened to everything from elation to despair for the past six years, even when I know she would have preferred to talk about other things every Sunday. Also to Kiddo who let me finish this without any morning sickness and only a slightly distracting kick or elbow now and then to tell me he was helping. vi VITA November 29, 1970........................................ Born - Lorain, Ohio 1993............................................................... B.A. Oberlin College 1995............................................................... M.A. Middlebury College 1996-2000...................................................... Visiting Instructor, Miami University 2000-2004...................................................... Graduate Teaching Associate, The Ohio State University 2004-2006...................................................... Visiting Instructor, Miami University FIELD OF STUDY Major Field: Spanish and Portuguese vii TABLE OF CONTENTS Page Abstract.............................................................................................................................ii Dedication........................................................................................................................iv Acknowledgments............................................................................................................v Vita.................................................................................................................................vii Chapters: 1. Introduction...........................................................................................................1 Objectives and potential significance of project...................................................1 Poetry by women in Spain....................................................................................5 Theoretical framework and methodology...........................................................13 1.1. Vision and visuality..........................................................................13 1.2. Scopophilia and scopophobia...........................................................17 1.3. The gaze and power..........................................................................21 1.4. The mirror stage and mirrors............................................................25 1.5. Identity and gender...........................................................................29 The poets and their texts......................................................................................39 Summary..............................................................................................................43 2. Ana Rossetti: (Un)Pleasurable looking...............................................................48 Scopophilia: Girls who look................................................................................51 Scopophilia: Ungendered looking.......................................................................68 Scopophobia: Intimidating looking.....................................................................81 Summary..............................................................................................................93 3. Maria-Mercè Marçal: The gaze and power.........................................................96 Fighting the powers that be: Dismantling cultural images of women through visuality................................................................................................101 Challenging the heterosexual matrix: Erotic looking at women by women...........................................................................................................116 Beyond the confines of gender: Mothers looking at daughters.........................122 Summary............................................................................................................127 viii 4. Aurora Luque: The gaze and visual culture.......................................................128 Challenging cultural images: The gaze and commodity culture.......................130 Rejecting gender roles: The gaze and cultural images of women.....................140 Outside the norm: Ungendered desire...............................................................153 Summary...........................................................................................................156 5. Montserrat Abelló: Looking in the mirror........................................................159 Facing the self: Positive and negative reflections in the mirror(ed) gaze...................................................................................................................163 The confining mirror: Collective and individual struggle................................186 The reflected body: Specular formulations of the self......................................196 Summary...........................................................................................................205
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