In the first of a series of three lectures delivered in 1930 in Bogota, Colombia, on the roles women played in the history of Latin America, Venezuelan writer Teresa de la Parra (Ana Teresa Parra Sanojo) set out to revise Doña Marina's role in Cortés's Conquest of Mexico. By deflating the epic elements of the official historiography, Parra downplays Cortés's heroic exploits to re-present Doña Marina as an exemplary female historical figure. While rectifying Doña Marina's story in the historical accounts, Parra commits a glaring omission. She glosses over the Cholula episode which has tarnished Doña Marina's participation in the Conquest with the stigma of betrayal in the eyes of postcolonial nationalists. In this essay, I argue that this omission is particularly revealing about Parra's life and writing. Haunted by a sense of national disaffection, Parra uses her ''revised'' portrait of Doña Marina to rehabilitate her own image as a Venezuelan writer vis-à-vis a nation that she had ''betrayed'' and a Latin American public that she had abandoned when she left Venezuela for France in 1923.Keywords Doña Marina Á Teresa de la Parra Á Cortés, Hernán Á History of the Conquest of Mexico Á Twentieth-century women's Venezuelan literature Á Women's identification Á Female historical revisionism Á Nomadism Á Malinchismo
Like the romance reader in Le Chevalier au Lion (Roques 1960(Roques /1982, the reader of Chrétien de Troyes's romances lives on in the manuscripts. Bridging the gap that estranges us from the irrecoverable medieval audience member, the manuscript remains the most reliable witness to the reception of Chrétien's works. Departing from the premise that circumstantial and material features of manuscript transmission of medieval literature conditioned the reader's mode of reception, this examination of major author-based thirteenth-century romance collections of Chrétien's romances suggests that the transition from aural to ocular reading moved alongside subtle yet significant changes in manuscript transmission. Following the chronology of the production of these collections, this essay focuses particularly on codicological features (such as, content, format, text, and page layout) and paratextual elements (such as, bookmarks, incipits, titles, rubrics, running headlines, and marginalia found on the manuscripts) to evince the figure of the reader that the manuscripts of Chrétien de Troyes contextualized.
This article challenges the widely held view that in Chocolat/Chocolate (Denis, 1988) the female protagonist, named 'France', owns the point of view. It argues that the film rejects such an exclusive narrative mode, and invites the spectator to reinterpret the story through the perspectives of others, especially that of the houseboy Protée. Drawing on Freudian and Lacanian psychoanalytical theories, this article re-examines three key flashback scenes (the mirror scene, the shower scene, and the big box-office scene), taking Protée's vantage point, while engaging with the para-text of Sartre's, Oyono's and Denis' own postcolonial views.
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