Norms and strategies in the English translations of Federico García Lorca's Bodas de sangre /

In this one-act play, written as Argentina began to slide into a repressive dictatorship and produced just as the country was returning to democracy, Griselda Gambaro improvises on the allegorical genre so as to allow for multiple, simultaneous, interdependent perspectives on an enigmatic theatrical universe. "Abstract allegory," as practiced by Gambaro, is a more sophisticated political and aesthetic strategy than either what Fredric Jameson calls "national allegory," which simply tells one (private) story to refer to another (public) issue, or what Doris Sommer refers to as "dialectical" allegory, in which two narratives are equally significant and mutually constructed. Just as any one of the fractured forms in an abstract painting might hint at a landscape or a human figure, the drama simultaneously alludes to several antagonisms between powerless individuals and menacing authority figures: 1) women oppressed by abusive men; 2) ordinary civilians at the mercy of low-level torturers; and 3) civilian leaders subjugated by military authorities.

The Abstract Allegory of Griselda Gambaro's Stripped (El despojamiento)

..................................................................................................... vii INTRODUCCION .............................................................................................. 1 1. La mujer inmigrante y extranjera en la novela patriarcal: entre la independencia y la comodificación económica ................................................................. 45 Eugenio Cambaceres: Sin rumbo (1885) y En la sangre (1887) ................ 48 Antonio Argerich: ¿Inocentes o culpables? Novela naturalista (1884) ..... 56 Carlos María Ocantos: Promisión (1897) .................................................. 69 Luis Pascarella: El conventillo (1917) ....................................................... 81 Conclusiones del capítulo ........................................................................... 95 2. En busca de la inmigrante, la extranjera y la esclava (sexual) en los textos de “otros” ................................................................................................ 98 Las educadoras: institutrices, sirvientas y monjas. Co-educando a las niñas de la elite porteña ...................................................................................... 100 Emma de la Barra: Stella (1905) ................................................................ 108 Katherine Dreier: Five Months in the Argentine from a Woman’s Point of View 1918-1919 (1920) ......................................................................... 121 Aníbal Latino: Tipos y costumbres bonaerenses (1886) ............................ 131 Albert Londres: The Road to Buenos Ayres (1928) .................................. 136 Conclusiones del capítulo .......................................................................... 146 3. La mujer inmigrante en el teatro .................................................................... 148 El/La inmigrante en el teatro....................................................................... 152 Dos obras de Florencio Sánchez. La Gringa (1904) y El desalojo (1906) 154 Alberto Vacarezza: El conventillo de la Paloma (1929)............................. 162 Armando Discépolo: La fragua (1912) ...................................................... 165 Conclusiones del capítulo ........................................................................... 173 4. La mujer inmigrante y extranjera en lo visual ............................................... 177 La extranjera espectacular ......................................................................... 179 El espacio de Crítica ................................................................................... 181

/pdf/raza-clase-etnia-y-genero-en-la-representacion-de-la-mujer-2oty8sam9y.pdf

Raza, Clase, Etnia y Género en la Representación de la Mujer Inmigrante y Extranjera en Argentina (1880-1930)

Theatre Journal 59 (2007) 431–447 © 2007 by The Johns Hopkins University Press Adam Versényi is Professor of Dramaturgy in the Department of Dramatic Art at the University of North Carolina at Chapel Hill, where he also chairs the Curriculum in International and Area Studies. He is Resident Dramaturg for PlayMakers Repertory Company and Editor of The Mercurian: A Theatrical Translation Review. Translation as an Epistemological Paradigm for Theatre in the Americas

http://muse.jhu.edu/journals/theatre_journal/v059/59.3versenyi.pdf

Translation as an Epistemological Paradigm for Theatre in the Americas

TENTATIVE TRANSGRESSIONS: HOMOSEXUALITY, AIDS, AND THE THEATER IN BRAZIL. By Severino J. Albuquerque. (Madison: University of Wisconsin Press, 2003. Pp. xiii+255. $29.95 paper.) TEATRO DE CABARET: IMAGINARIOS DISIDENTES. By Gastón A. Alzate. (Irving, CA: Ediciones de Gestos, 2002. Pp. 160. $17.50 paper.) TEATRO CONTEMPORÁNEO JUDEOARGENTINO: UNA PERSPECTIVA FEMINISTA BÍBLICA. By Matilde Raquel Holte. (Buenos Aires: Ensayos, 2004. Pp. 212.) LATIN AMERICAN WOMEN ON/IN STAGES. By Margot Milleret. (Albany: State University of New York Press, 2004. Pp. x+263. $45.00 cloth.) HOLY TERRORS: LATIN AMERICAN WOMEN PERFORM. Edited by Diana Taylor and Roselyn Costantino. (Durham: Duke University Press, 2003. Pp. 464. $84.95 cloth, $23.95 paper.)

The Patriarchy Problem: Sexism, Homophobia, and the Many Faces of Transgression to Normative Representations of Difference

El grotesco criollo: Estilo teatral de una epoca

The "prologo" in the Theater of Federico Garcia Lorca: Towards the Articulation of a Philosophy of Theater

Diván del Tamarit, Seis poemas galegos, Llanto por Ignacio Sánchez Mejías, Poemas sueltos@@@Lorca's Late Poetry@@@Divan del Tamarit, Seis poemas galegos, Llanto por Ignacio Sanchez Mejias, Poemas sueltos

"Rosas y mirtos de luna..." Naturaleza y símbolo en la obra de Federico García Lorca@@@"Rosas y mirtos de luna..." Naturaleza y simbolo en la obra de Federico Garcia Lorca

Francesca Colecchia

Papers

El grotesco criollo: Estilo teatral de una epoca

The "prologo" in the Theater of Federico Garcia Lorca: Towards the Articulation of a Philosophy of Theater

Diván del Tamarit, Seis poemas galegos, Llanto por Ignacio Sánchez Mejías, Poemas sueltos@@@Lorca's Late Poetry@@@Divan del Tamarit, Seis poemas galegos, Llanto por Ignacio Sanchez Mejias, Poemas sueltos

"Rosas y mirtos de luna..." Naturaleza y símbolo en la obra de Federico García Lorca@@@"Rosas y mirtos de luna..." Naturaleza y simbolo en la obra de Federico Garcia Lorca

Cuban Theater in the United States: A Critical Anthology