Sinopsis: En el “Archivo del microrrelato mexicano. Fuentes para su estudio (1917-2020)” (Conceptos, núm. 1, 2020) se registran 651 libros clasificados en el género de la minificción, de éstos 102 ...fueron signados por autoras. Veinte más pertenecen al rubro de las antologías coordinadas por escritoras. De quince literatos mexicanos publicados en el extranjero, nueve son narradoras arraigadas en los terrenos de la minificción, dos de ellas residentes en Europa. En “En tinta negra. Libros de microrrelatos de escritoras mexicanas (1931-2020)” se mapea el espacio que ocupan los volúmenes de las escritoras de microrrelatos en la literatura mexicana del siglo XX y las décadas en curso del XXI. Su origen, punto de partida, es la obra de Nelly Campobello, Cartucho. Relatos de la lucha en el norte de México (1931), libro pionero en el microrrelato. Cartucho es al microrrelato lo que Poemas y ensayos a la minificción.
Carmen Boullosa's (1954) daring "Mis cadáveres" (My Cadavers, 2003) shares achievements with Guadalupe Nettel's (1972) "El cuerpo en que nací" (The Body in Which I Was Born) (2011) and María Rivera's ...(1971) "Variaciones para una autobiografía" (Variations for an Autobiography) (2011). The three autobiographical essays by Mexican women writers describe such sexuality-related moments as losing one's virginity (Nettel), masturbating (Boullosa), and giving birth by caesarean section (Boullosa and Rivera). The pioneering nature of these texts becomes visible through contextual details regarding earlier Mexican women artists Nellie Campobello (1900), Frida Kahlo (1907), Griselda Álvarez (1913), Elena Garro (1916), Clementina Díaz y de Ovando (1916), and Guadalupe Amor (1918). The archives on the Centro Mexicano de Escritores (Mexican Center for Writers, 1951-2006) help to illuminate the nature of ageist pressures exerted on Díaz y de Ovando, as well as on Ángeles Mastretta (1949), Ana Cecilia Treviño (1932), and Amparo Dávila (1928). Writing by more recent generations of writers represented by Boullosa, Nettel, and Rivera suggests that ageism can be overcome in part by exiting the narrative arc of autopathology in favour of meditation, which points to a solution of emptying out the self, contemplating the present moment, and valuing community over individuality.
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The poetry of Griselda Alvarez (Guadalajara, 1913) is rarely considered alongside literature from Jalisco, since her public action is related to the Mexican state of Colima, where she was governor ...from 1979-1985. This paper rhetorically examines death in her verse, a topic that until now has not been considered in previous studies. It tracks the first six titles of her production, since they were prior to her holding public office. During this time, there were no prohibitions imposed upon her social discourse, providing her with a greater freedom of speech. It is pertinent to clarify that during her public administration, Alvarez did not write anything. Nevertheless, Griselda Alvarez's reputation as a poet had reached some peaks before she took office, as confirmed by the books Anatomía superficial and Estación sin nombre. This writer is distinguished by her use of the sonnet, as well as the erotic themes in her work. According to Merlin H. Forster's taxonomy, death is a living presence in her verse, and argument is the rhetorical weapon of her preference.
La literatura de Jalisco pocas veces considera la obra poética de Griselda Álvarez (Guadalajara, 1913), debido a que su actuar público la relaciona con el estado mexicano de Colima, del cual fue gobernadora entre los años 1979-1985. Estas páginas realizan un seguimiento retórico al tópico de la muerte en sus versos, desde los análisis del discurso y de contenido, temática no considerada hasta el momento en estudios previos; considera el seguimiento de los seis primeros títulos de su producción, por ser éstos anteriores a su gestión pública, tiempo sin ataduras para el ofrecimiento de un discurso social con mayor libertad expresiva. Es pertinente aclarar que durante su ejercicio en el poder, Álvarez no escribió título alguno. La notoriedad de Griselda Álvarez como poeta había alcanzado algunas cimas antes de su gubernatura, como lo confirman los libros Anatomía superficial y Estación sin nombre. La escritora se distinguió por utilizar el formato del soneto, así como el tema erótico en su trabajo. La muerte, de acuerdo con la taxonomía de Merlin H. Forster, es una presencia viva en su verso, y la argumentación el arma retórica de su preferencia.
With the publication in 1985 of her best-seller Arráncame la vida, Ángeles Mastretta was propelled into the literary limelight, and her next best-selling success, Mal de amores (1996), further ...bolstered her superstardom. While the intellectual conflict between literatura light and literatura difícil, which is at the heart of much of the negative reception of Mastretta's two novels, has been extensively researched, almost no academic studies exist on the strategies which the author has used in projecting and maintaining her superstardom. This article analyses this hitherto unexplored area by examining the role of publishers in the creation of Mastretta as a celebrity, the recent film adaptation of Arráncame la vida, Mastretta's blog site interventions, and her extensive media appearances. The construction of the literary icon/star as a cultural artefact examined here contributes to the budding field of stardom and fandom studies and the growing scholarly interest in the emerging canon of Mexican and Latin American writers in cyberspace.
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