Fantasías primitivas que regresan. Lo siniestro de La mujer desnuda (1950), de Armonía Somers (Crítica)
Understood within the zone of the repressed, sexuality occupies a tense territory between the forbidden and transgression. The representations it adopts are also the product of this tension and generate an imbalance that affects not only the construction of subjectivity but also the society that is...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2021 |
| País: | Ecuador |
| Institución: | Universidad Andina Simón Bolivar |
| Repositorio: | Repositorio Universidad Andina Simón Bolivar |
| Idioma: | español |
| OAI Identifier: | oai:repositorio.uasb.edu.ec:10644/8416 |
| Acceso en línea: | http://hdl.handle.net/10644/8416 |
| Access Level: | acceso abierto |
| Palabra clave: | NOVELA URUGUAYA SOMERS, ARMONÍA, 1914-1994 SEXUALIDAD CRÍTICA LITERARIA |
| Sumario: | Understood within the zone of the repressed, sexuality occupies a tense territory between the forbidden and transgression. The representations it adopts are also the product of this tension and generate an imbalance that affects not only the construction of subjectivity but also the society that is structured upon this repression. This paper will address the appearance of sex as a trigger of unconscious matter according to Freud’s early psychoanalytic texts and will study the operation of the sinister in an aesthetic platform that links the novel by Armonia Somers to surrealism by deploying common strategies around automatism, the disintegration of identity and the singularization of writing. |
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