Perdón o condena
Continuing the steps of the Latin-American narrative of the XIXth century, in the 30s and 40s in Venezuela, the canonical literature proposed a clear tracing of the hero’s and villain’s places involved in the national refoundation. The bet initiated by the intellectuality of the country, from Decemb...
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| Publicado en: | Cuadernos del CILHA |
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| Acceso en línea: | https://bdigital.uncu.edu.ar/fichas.php?idobjeto=1686 |
| Sumario: | Continuing the steps of the Latin-American narrative of the XIXth century, in the 30s and 40s in Venezuela, the canonical literature proposed a clear tracing of the hero’s and villain’s places involved in the national refoundation. The bet initiated by the intellectuality of the country, from December 1935, was going to the construction of a modern nation which image was hardening not only by means of the fiction narrative, but also in the massive records based on the orality, on the mass media in general and, particularly, in photographies and images reproduced by magazines, newspapers and audio-visual productions. Since it happens in these exercises of national organization, inevitably, there went out to the light for, certain nomads subjectivities at the time that generated his own discursivity ethical and aesthetically foreign to the lawsuits of the canon. Writings that they created, in his interior a space of resistance opposite to all the efforts of normatization proposed from the power. In this group is Mujeres (1943), by Isolda Calzadilla, a novel - script where the consciente is left in evidence not only in the use of the language on behalf of the authoress, but besides, the need to rethink the margins of the urban center, of opening the posibilitéis of subjective development the women and of showing the back of a modernitation’s map that manages to resign completely behind the front. |
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