Fantasmagorías en 'Por donde se sube al cielo' (1882) de Manuel Gutiérrez Nájera: Mujer, mercancía y trabajo en “París”, capital mexicana del siglo XIX
Por donde se sube al cielo (1882) —considered the first Hispano-American modernista novel by some critics— is based in a literary Parisian world, and has a strong presence of phantasmagoric phenomena, in the sense that Walter Benjamin stated in “Paris, Capital of the Nineteenth Century”. Therefore t...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2017 |
| País: | México |
| Institución: | UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO |
| Repositorio: | (an)ecdótica |
| Idioma: | español |
| OAI Identifier: | oai:ojs.pkp.sfu.ca:article/10 |
| Acceso en línea: | https://revistas-filologicas.unam.mx/anEcdotica/index.php/anec/article/view/10 |
| Access Level: | acceso abierto |
| Palabra clave: | fantasmagoría Manuel Gutiérrez Nájera novela modernista mujer capitalismo Walter Benjamin phantasmagoria modernist novel woman capitalism |
| Sumario: | Por donde se sube al cielo (1882) —considered the first Hispano-American modernista novel by some critics— is based in a literary Parisian world, and has a strong presence of phantasmagoric phenomena, in the sense that Walter Benjamin stated in “Paris, Capital of the Nineteenth Century”. Therefore the novel constitutes a “capital fiction”, according to Ericka Beckman’s analysis in Capital Fictions. The Literature of Latin America’s Export Age. My purpose is to explore Manuel Gutiérrez Nájera’s response to capitalism in the period of economic liberal consolidation at the end of the 19th century. At the core of this capital fiction, the novel’s response shows the project of reformation and violent subjection, not only of a domestic feminine subject, but of a transparent and ordered working class during the Porfiriato. It implies as well the domestication of the feminine gender, of its material desire, and its economical excess, according to the ideas that Nancy Armstrong studies in Desire and Domestic Fiction. |
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