Reading Postmodernism: The Fiction of Cristina Fernandez Cubas, Paloma Diaz-Mas, and Marina Mayoral

2001 ◽  
Vol 18 (1/2) ◽  
pp. 78
Author(s):  
Kathleen M. Glenn
Keyword(s):  
Cristina Fernandez Cubas ◽  
Marina Mayoral

The Language of Two Shores

PMLA ◽  
2001 ◽  
Vol 116 (1) ◽  
pp. 189-197
Author(s):  
Nuria Amat ◽  
Lori Ween ◽  
Oscar Fernández
Keyword(s):  
Women Writers ◽  
Lourdes Ortiz ◽  
Spanish Women Writers ◽  
Cristina Fernandez Cubas ◽  
Esther Tusquets ◽  
Montserrat Roig ◽  
Ana Maria Moix ◽  
Marina Mayoral ◽  
Spanish Women ◽  
Spanish Fiction

Nuria Amat's view of literature between borders places her in the arduous trajectory of Spanish women writers, who have written their works from the periphery of Spanish fiction. Historically, few women have been among the canonical writers of Spain, and those who wrote were known for their ambivalent representations of their role as authors. Marginal writers of both sexes were forced to engage in literary disguises and subterfuges, “common and necessary practices for those who deviated from orthodoxy and convention” (Levine and Marson xxi). With the death of Franco in 1975, women writers of Spain such as Ana María Moix (b. 1947, Catalonia), Esther Tusquets (b. 1946, Catalonia), Marina Mayoral (b. 1942, Galicia), Lourdes Ortiz (b. 1943), Montserrat Roig (b. 1946, Catalonia), Cristina Fernández Cubas (b. 1945, Barcelona), and Rosa Montero (b. 1951, Madrid) began to explore their personal and national histories as the censorship ended. There soon followed a boom of female writers, who, “encouraged by the feminist movement and by all the changing atmosphere of the seventies, were able to find marketing success that soon made them visible” (Nichols 11).

The Language of Two Shores

PMLA ◽  
2001 ◽  
Vol 116 (1) ◽  
pp. 189-197
Author(s):  
Nuria Amat ◽  
Lori Ween ◽  
Oscar Fernández
Keyword(s):  
Women Writers ◽  
Lourdes Ortiz ◽  
Spanish Women Writers ◽  
Cristina Fernandez Cubas ◽  
Esther Tusquets ◽  
Montserrat Roig ◽  
Ana Maria Moix ◽  
Marina Mayoral ◽  
Spanish Women ◽  
Spanish Fiction

Nuria Amat's view of literature between borders places her in the arduous trajectory of Spanish women writers, who have written their works from the periphery of Spanish fiction. Historically, few women have been among the canonical writers of Spain, and those who wrote were known for their ambivalent representations of their role as authors. Marginal writers of both sexes were forced to engage in literary disguises and subterfuges, “common and necessary practices for those who deviated from orthodoxy and convention” (Levine and Marson xxi). With the death of Franco in 1975, women writers of Spain such as Ana María Moix (b. 1947, Catalonia), Esther Tusquets (b. 1946, Catalonia), Marina Mayoral (b. 1942, Galicia), Lourdes Ortiz (b. 1943), Montserrat Roig (b. 1946, Catalonia), Cristina Fernández Cubas (b. 1945, Barcelona), and Rosa Montero (b. 1951, Madrid) began to explore their personal and national histories as the censorship ended. There soon followed a boom of female writers, who, “encouraged by the feminist movement and by all the changing atmosphere of the seventies, were able to find marketing success that soon made them visible” (Nichols 11).

scholarly journals Viajando a “lo otro” desde cualquier lugar. Entrevista a Cristina Fernández Cubas

2017 ◽  
Vol 5 (1) ◽  
pp. 141-147
Author(s):  
Ana Casas
Keyword(s):  
Cristina Fernandez Cubas

Entrevista a Cristina Fernández Cubas (Arenys de Mar, Barcelona, 1945) por Ana Casas.

scholarly journals Ambiguidade nas figurações femininas em Ana Teresa Pereira e Cristina Fernández Cubas

2021 ◽  
pp. 45-62
Author(s):  
Maria João Simões
Keyword(s):  
Cristina Fernandez Cubas

A ambiguidade e a estranheza presidem à construção das figuras fantásticas de Ana Teresa Pereira e de Cristina Fernández Cubas. As autoras desenham figuras femininas que se confrontam com contextos de poder e jogos de sedução ambivalentes. Através da utilização do “tempo expandido” ou de “tempos convergentes” (segundo D. Roas), ou da utilização de “espaços rizomáticos” (segundo P. García), as personagens enfrentam ocorrências irreais e impossíveis. Pretende-se analisar, em Inverness e El Columpio, como se dá a ver esse apagamento do real nas personagens e também como se constroem as figuras fantásticas, segundo o modelo dual de D. Mellier: fantástico explícito versus fantástico da indeterminação. Proceder-se-á à análise dos efeitos de fantástico atingidos na figuração das personagens femininas, investigar-se-á como os jogos do tempo e do espaço concorrem para a construção dessas figuras e mostrar-se-á como esta figuração questiona a condição feminina, compondo-se em metáfora da construção de subjetividades femininas.

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