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La Literatura De Singapur: Identidad Y Tradición En La Obra De Catherine Lim

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La Literatura De Singapur: Identidad Y Tradición En La Obra De Catherine Lim Curso 2011/12 HUMANIDADES Y CIENCIAS SOCIALES/4 I.S.B.N.: 978-84-15287-97-1 MARÍA CONCEPCIÓN BRITO VERA La literatura de Singapur: identidad y tradición en la obra de Catherine Lim Director JUAN IGNACIO OLIVA CRUZ SOPORTES AUDIOVISUALES E INFORMÁTICOS Serie Tesis Doctorales humanidades 04 (María Concepción Brito Vera).indd 1 13/05/2013 10:17:23 what we have left behind us in the fathering clay the finishing bed where the veins flow grey in the grave unequivocal, is little, redundancy. Gwendolyn MacEwen I have also wondered... when the postcolonial is supposed to end. First we were colonials and now we seem to be postcolonials. So is the colonial the new Anno Domini from which events are to be everlastingly measured? Sahgal (cit. Dixon 2002: 1) A mis padres Manuel José y Sara Me dieron la llave A mis hijos Enzo y Guillermo La llevan Agradecimientos Durante los años de investigación que he dedicado a este trabajo, aquellas personas, amigos y familiares que han soportado mi humor y me han ayudado a continuar, han colaborado de manera inequívoca, aun sin saberlo, en la elaboración de esta tesis doctoral. A todos, y en especial a mis hijos, mis sinceras disculpas y mi más profundo agradecimiento. Quisiera agradecer en singular a las personas que se vieron involucradas de manera más directa en este proceso: A Lourdes Divasson y a Isabel León, compañeras, amigas queridas, que han hecho posible este trabajo. La paciencia, dedicación y prudencia de Lourdes y el apoyo optimista de Lis han sido esenciales para terminarlo. A Alberto G. Quesada, cuyas discusiones y aportaciones han nutrido muchos aspectos de esta investigación. A Jorge Berástegui, marinero de similar singladura, por los mutuos alientos que nos impulsan. A mi hermana María del Mar, que encontró tiempo para recordarme las normas de la Academia y me dio su apoyo moral en los momentos de duda; a Ana María, mi otra hermana, que ha aguantado estoicamente muchos monólogos sobre literatura postcolonial. A Rafael García, mi marido y compañero, que además de ocuparse del diseño, corrección y formato del trabajo, ha hecho casi imperceptible mi abstracción del hogar; sus noches frente al ordenador, revisando estas páginas, han contribuido sensiblemente a la forma final de esta tesis, que, indudablemente, es también suya; a Toño, a Gavi y a Vike, que le aportaron conocimientos y su inestimable ayuda. A Jordi e Isabel y a El Güell, que serenaron mi espíritu cuando fue necesario. Agradezco a Paco Cortés y a Tomás Monterrey las alas que me dieron. Y a Juan Ignacio Oliva, que me hizo creer que una tesis se podía elaborar en un año y con esa argucia me embarcó en este fascinante viaje. Sus consejos y su cariño han sido imprescindibles. Gracias a todos. Índice Capítulo 0. Introducción_________________________________________________________ 15 Parte I. La Identidad ___________________________________________________________ 27 Capítulo 1 . Historia y cultura de Singapur ___________________________________________ 31 1.1. MOMENTOS HISTÓRICOS RELEVANTES ______________________________________________ 31 1.2. SINGAPUR EN LA ACTUALIDAD ___________________________________________________ 39 1.2.1. Modernidad y progreso ________________________________________________ 39 1.2.2. Creación de una identidad singapurense ___________________________________ 44 1.3. LITERATURA ________________________________________________________________ 50 1.3.1. La literatura de los años 90 en adelante ___________________________________ 53 1.3.2. Catherine Lim en el horizonte literario singapurense _________________________ 57 1.4. SINOPSIS DE LAS OBRAS DE FICCIÓN ________________________________________________ 63 1.4.1. Little Ironies: Stories of Singapore (1978) ___________________________________ 63 1.4.2. Or Else the Lightning God and Other Stories (1980) __________________________ 64 1.4.3. The Serpent´s Tooth (1982) _____________________________________________ 65 1.4.4. They Do Return (1983) _________________________________________________ 67 1.4.5. The Shadow of a Shadow of a Dream: Love Stories of Singapore (1987) __________ 68 1.4.6. Oh Singapore! Stories in Celebration (Satirical Stories of Singapore) (1989) _______ 69 1.4.7. Deadline for Love and Other Stories (1992) _________________________________ 70 1.4.8. The Woman´s Book of Superlatives (1993) _________________________________ 71 1.4.9. Meet Me on the Queen Elizabeth 2! (1993) ________________________________ 72 1.4.10. The Bondmaid (1995) _________________________________________________ 72 1.4.11. The Teardrop Story Woman (1998) ______________________________________ 75 1.4.12. The Howling Silence. Tales of the Dead and Their Return (1999) _______________ 77 1.4.13. Following the Wrong God Home (2001) __________________________________ 78 1.4.14. The Song of Silver Frond (2003) _________________________________________ 80 1.4.15. A Leap of Love. A Novella (2003) ________________________________________ 82 1.4.16. Unhurried Thoughts at My Funeral (2005) ________________________________ 83 1.4.17. Miss Seetoh in the World (2010) ________________________________________ 84 11 Capítulo 2. Un Pasado siempre presente ___________________________________________ 85 2.1. LA VUELTA AL PASADO COMO INTENTO DE REGISTRO PARA LA MEMORIA ______________________ 88 2.2. LA VUELTA AL PASADO COMO EXPRESIÓN DEL SENTIMIENTO DE CULPA EN EL SUJETO COLONIZADO ____ 105 2.3. EL PASADO Y LA CULPA EN LA OBRA DE CATHERINE LIM _________________________________ 118 2.4. FINALES TRÁGICOS : DESAFÍO , CULPA Y RESTABLECIMIENTO DEL ORDEN _______________________ 135 Capítulo 3. Oriente y Occidente. Exotismo y estereotipos coloniales _____________________ 147 3.1. REFLEXIONES SOBRE LO EXÓTICO ________________________________________________ 147 3.2. EL EXOTISMO COMO FANTASÍA : VICTOR SEGALEN Y EL ESSAI SUR L ´EXOTISME __________________ 155 3.3. EDWARD SAID Y LA CONSTRUCCIÓN DE LO EXÓTICO ___________________________________ 166 3.3.1. El conocimiento en el discurso orientalista ________________________________ 167 3.3.2. El problema de la representación _______________________________________ 169 3.4. EL ESTEREOTIPO DE HOMI BHABHA ______________________________________________ 177 3.5. LA VISIÓN DE OCCIDENTE Y ORIENTE EN LA OBRA DE CATHERINE LIM _______________________ 185 3.5.1. Occidente exótico. Representaciones de Occidente _________________________ 186 3.5.2. Oriente exótico: autoexotismo o la “agencia” por la pasividad ________________ 209 Parte II. El Género ____________________________________________________________ 227 Capítulo 4. Formas de Subordinación ____________________________________________ 231 4.1. MODOS DE SUBORDINACIÓN __________________________________________________ 233 4.2. LA INFANCIA Y LA EDUCACIÓN __________________________________________________ 236 4.3. LA ADOLESCENCIA __________________________________________________________ 242 4.4. MUJER Y MATRIMONIO ______________________________________________________ 245 4.5. MUJER Y RELIGIÓN _________________________________________________________ 256 Capítulo 5. Teoría y práctica. Catherine Lim y el feminismo occidental____________________ 271 5.1. “T RANSIT TO HEAVEN ” O LOS LÍMITES DE LA TEORÍA ___________________________________ 272 5.2. MOHANTY Y LA MUJER DEL TERCER MUNDO _________________________________________ 278 5.3. LA CRÍTICA POSTCOLONIAL DE SPIVAK _____________________________________________ 285 5.4. EJEMPLOS DE “SUBALTERNIDAD ” EN LA OBRA DE CATHERINE LIM __________________________ 302 12 Capítulo 6. Nacionalismo y feminismo: dos lealtades contrapuestas _____________________ 321 6.1. FANON : LA NEGRA QUE QUIERE SER BLANCA Y LA ANSIEDAD NACIONALISTA ____________________ 322 6.2. NANDY , LA CULTURA Y LA MUJER ________________________________________________ 328 6.3. EL NACIONALISMO “FEMENINO ” DE GANDHI ________________________________________ 332 6.4. FEMINISMO EN SINGAPUR _____________________________________________________ 336 6.4.1. El estado y la mujer como máquina de producción física y simbólica ___________ 349 6.4.2. Historia de AWARE: control estatal y posibilidades de expresión de los movimientos feministas ________________________________________________________________ 356 6.5. CATHERINE LIM Y SU RELACIÓN CON EL NACIONALISMO SINGAPURENSE _______________________ 362 6.5.1. El caso Catherine Lim _________________________________________________ 364 6.5.2. Un nuevo marco para interpretar la obra de Catherine Lim ___________________ 372 6.5.3. Catherine Lim: puntos de encuentro con otras escritoras postcoloniales ________ 384 Capítulo 7. Conclusiones_______________________________________________________ 389 Capítulo 8. Bibliografía ________________________________________________________ 409 8.1. BIBLIOGRAFÍA DE CATHERINE LIM ________________________________________________ 409 8.1.1. Bibliografía primaria _________________________________________________ 409 8.1.2. Bibliografía secundaria ________________________________________________ 410 8.2. BIBLIOGRAFÍA GENERAL _______________________________________________________ 411 8.2.1. Bibliografía primaria _________________________________________________ 411 8.2.2. Bibliografía secundaria ________________________________________________ 414 13 Índice de iIlustraciones PORTADAS DE LAS EDICIONES DE SUS OBRAS : LITTLE IRONIES : STORIES OF SINGAPORE --------------------------------------------------------------------------- 58 OR ELSE THE LIGHTNING GOD AND OTHER STORIES -------------------------------------------------------------
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