Synergy and Subversion in the Second Stage Novels of Rosa Montero

Synergy and Subversion in the Second Stage Novels of Rosa Montero

Synergy and Subversion in the Second Stage Novels of Rosa Montero

Synergy and Subversion in the Second Stage Novels of Rosa Montero

Excerpt

This comprehensive study demonstrates through close textual readings that the fictional works of Rosa Montero constitute a synergetic exploitation of the conventions of journalism and other popular and literary modes thereby producing a subversive narrative informed by ambiguity and experimentation. Its primary focus is the author's period of productivity between 1983 and 1993, referred to herein as the second stage in Montero's ever-innovative artistic development. The four novels written during this period: Te trataré como a una reina, Amado amo, Temblor, and El nido de los sueños mark a significant stage in the author's process of maturation as a writer of fiction.

The first chapter of this study offers brief a comparison and contrast of male and female-authored works of the Spanish post-Civil War and post- Franco periods and traces the development of a female literary tradition within contemporary Spanish literature. It situates Montero with respect to other twentieth-century women writers in Spain and discusses issues raised by the feminist movement. The author's first two novels: Crónica del desamor and La función delta, are examined briefly for their thematic and stylistic experimentation.

Chapter II analyzes the power structures presented in Te trataré como a una reina and explores the narrative strategies Montero uses to interrogate those arrangements which have traditionally placed women in marginal positions.

Chapter III studies the author's use of the stylistic patterns of inversion and role-reversal in Amado amo, to expose the underpinnings of the hierarchies of power and authority in “post-Franco democratic, corporate Spain.

Chapter IV traces the evolution of the science fiction genre and investigates how Montero exploits its standard conventions for their subversive . . .

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