Queer Transitions in Contemporary Spanish Culture: From Franco to LA MOVIDAState University of New York Press, 01.02.2012 - 273 Seiten Gema Pérez-Sánchez argues that the process of political and cultural transition from dictatorship to democracy in Spain can be read allegorically as a shift from a dictatorship that followed a self-loathing "homosexual" model to a democracy that identified as a pluralized "queer" body. Focusing on the urban cultural phenomenon of la movida, she offers a sustained analysis of high queer culture, as represented by novels, along with an examination of low queer culture, as represented by comic books and films. Pérez-Sánchez shows that urban queer culture played a defining role in the cultural and political processes that helped to move Spain from a premodern, fascist military dictatorship to a late-capitalist, parliamentary democracy. The book highlights the contributions of women writers Ana María Moix and Cristina Peri Rossi, as well as comic book artists Ana Juan, Victoria Martos, Ana Miralles, and Asun Balzola. Its attention to women's cultural production functions as a counterpoint to its analysis of the works of such male writers as Juan Goytisolo and Eduardo Mendicutti, comic book artists Nazario, Rubén, and Luis Pérez Ortiz, and filmmaker Pedro Almodóvar. |
Inhalt
| 1 | |
| 11 | |
Eloquent Silences in Ana María Moixs Julia | 35 |
Eduardo Mendicuttis Una mala noche la tiene cualquiera | 61 |
Citationality in Cristina Peri Rossis La nave de los locos | 113 |
The Cultural Renovations of the 1980s | 143 |
Conclusion | 187 |
Notes | 197 |
Works Cited | 223 |
Index | 243 |
Andere Ausgaben - Alle anzeigen
Queer Transitions in Contemporary Spanish Culture: From Franco to LA MOVIDA Gema Perez-Sanchez Eingeschränkte Leseprobe - 2008 |
Queer Transitions in Contemporary Spanish Culture: From Franco to LA MOVIDA Gema Perez-Sanchez Keine Leseprobe verfügbar - 2007 |
Häufige Begriffe und Wortgruppen
aesthetic allegorical allows analysis argue artists Barcelona becomes called castrating chapter character comic book complex construction contemporary context critics cultural dangerous democracy desire dictatorship discuss economic effectively especially example fact fear female feminine feminist figure force Franco Francoist further gender hand heterosexual historical homophobic homosexual identity important included indicates interview José Juan Julia Latin lesbian literary Madrid magazine mala male marginal María masculinity means Mendicutti misogyny Moix Moix’s mother movida narrative nave noche novel oppressive particular Pascual Pedro performance Peri Rossi person political popular position postmodern practices present publication published queer reader reading refer regime relation representation represented role sense sexual silence social society Spain Spanish specific story subversive suggests symbolic term Tiempo tion traditional transition translation transvestite underground understanding woman women writers
Beliebte Passagen
Seite 16 - What we can do, for the moment, is to fix two major superstructural "levels": the one that can be called "civil society", that is the ensemble of organisms commonly called "private", and that of "political society" or "the State". These two levels correspond on the one hand to the function of "hegemony" which the dominant group exercises throughout society and on the other hand to that of "direct domination" or command exercised through the State and "juridical
Seite 63 - The whole point of allegory is that it does not need to be read exegetically; it often has a literal level that makes good enough sense all by itself. But somehow this literal surface suggests a peculiar doubleness of intention, and while it can, as it were, get along without interpretation, it becomes much richer and more interesting if given interpretation.
Seite 129 - To claim that discourse is formative is not to claim that it originates, causes, or exhaustively composes that which it concedes; rather, it is to claim that there is no reference to a pure body which is not at the same time a further formation of that body.
Seite 121 - The Young Conservatives recapitulate the basic experience of aesthetic modernity. They claim as their own the revelations of a decentered subjectivity, emancipated from the imperatives of work and usefulness, and with this experience they step outside the modern world. On the basis of modernistic attitudes, they justify an irreconcilable anti-modernism. They remove into the sphere of the far away and the archaic the spontaneous powers of imagination, of self-experience and of emotionality.
Seite 16 - Lastly, they are not univocal; they define innumerable points of confrontation, focuses of instability, each of which has its own risks of conflict, of struggles, and of an at least temporary inversion of the power relations. The overthrow of these "micropowers...
Seite 135 - In this typology, the category of intention will not disappear; it will have its place, but from this place it will no longer be able to govern the entire scene and the entire system of utterances.
Seite 135 - Could a performative utterance succeed if its formulation did not repeat a 'coded' or iterable utterance, or in other words, if the formula 1 pronounce in order to open a meeting, launch a ship or a marriage were not identifiable as conforming with an iterable model, if it were not then identifiable in some way as a 'citation'?
Seite 135 - Something can be a signifying sequence only if it is iterable, only if it can be repeated in various serious and non-serious contexts, cited, and parodied. Imitation is not an accident that befalls an original but its condition of possibility
Seite 136 - To claim that all gender is like drag, or is drag, is to suggest that "imitation" is at the heart of the heterosexual project and its gender binarisms, that drag is not a secondary imitation that presupposes a prior and original gender, but that hegemonic heterosexuality is itself a constant and repeated effort to imitate its own idealizations.
Seite 127 - Lo que amamos en toda estructura es una composición del mundo, un significado que ordene el caos devorador, una hipótesis comprensible y por ende reparadora. Repara nuestro sentimiento de la fuga y de la dispersión, nuestra desolada experiencia del desorden.