By Jessica A. Folkart
This examine examines the reconstruction of id within the context of post-totalitarian Spain and, extra extensively, of postmodern Western tradition. this is often the 1st e-book focussing at the fiction of influential author Cristina Fernandez Cubas. It argues that Fernandez Cuba's illustration of the mediation of id consistently destabilizes the boundaries of subjectivity through underscoring the ambiguity of difference/duality.
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Additional info for Angles on otherness in post-Franco Spain: the fiction of Cristina Fernández Cubas
In an inversion of subject/object dominance, the act of confession invests the receiver of the discourse with the power to interpret: “The truth did not reside solely in the subject who, by confessing, would reveal it wholly formed. . [I]t could only reach completion in the one who assimilated and recorded it. It was the latter’s function to verify this obscure truth: the revelation of confession had to be coupled with the decipherment of what it said” (Foucault 1990, 66). Thus Lúnula not only receives knowledge through Violeta’s confessions, but also constructs the truth of Violeta’s identity by interpreting that knowledge.
Through the metaphor of representation, the protagonist views each of his friends as enacting a given role, while he himself refuses to interpret the script of commiseration that they assign to him. Instead, he subjects José and Josefina to the critical power of his gaze by casting himself as the spectator of their performance. As the viewing public, the protagonist has the right to examine and judge the actors, much as Lúnula critiqued Violeta’s performance in the rooster massacre. For Foucault, the examination is the supreme ritual of a disciplining gaze: “It establishes over individuals a visibility through which one differentiates them and judges them.
El cuadernillo, entre mi pierna derecha y la sábana, crujió un poco. Josefina dejó la toalla junto al lavabo y me dio las buenas noches. Parecía cansada. Yo me sentí aliviado por no haber sido descubierto” [I was finally falling asleep when Josefina burst into my room without knocking. She brought a towel in her hand and she looked from one side to the other as if she were trying to make sure of something. The notebook, between my right leg and the sheet, rustled a little. Josefina left the towel by the sink and said good night.