Titlebook: Gendered Spaces in Argentine Women‘s Literature; Marta Sierra Book 2012 Palgrave Macmillan, a division of Nature America Inc. 2012 dwellin

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軟弱

concert

https://doi.org/10.1007/978-1-349-19090-4iance of that day I will never forget: a bright sky and the field as a clear reflection of our orderly lives where everybody was where he or she belonged and where everything and every-body was contained by an invisible net, holding us tightly night and day. For many Argentines of my generation, tha

browbeat

Studies in Philosophy and Religionired to transform the Antarctic territory into a global nation for humankind, a promised land where millions of displaced people could escape from terror, racism, or economic injustice. In the artists’ words: “Antarctic Village is a symbol of the plight of those struggling to traverse borders and to

sundowning

LAIR

,Introduction: Gendered Spaces in Argentine Women’s Literature,ndscape to the indigenous populations described through a Dante-esque portrayal of . and its raiding tactics to sweep the precarious colonial settlements in the Pampas. The spatial iconography of the desert also addresses gender tensions through the introduction of the female captive, María, and her

LAIR

Displacing Domesticity: Cosmopolitanisms, Travel Writing, and Narratives of the Home,veling were multiple and took different directions. Before this period, Latin American writers traveled to Europe in great numbers in search of a professional space that could consolidate their prestige and international recognition. Between 1900 and 1920, this intellectual diaspora established an e

無孔

,“Of Other Spaces”: Staging Repression in the Works of Griselda Gambaro and Diana Raznovich,iance of that day I will never forget: a bright sky and the field as a clear reflection of our orderly lives where everybody was where he or she belonged and where everything and every-body was contained by an invisible net, holding us tightly night and day. For many Argentines of my generation, tha

無法治愈

博識

,Poetic Crossovers: The Paradoxical Spaces of Women’s Poetry,rning, the intersections of local and global realities, and the postnational and postcolonial experiences by women writers. In Diana Bellessi’s . [.] (1980), . [.; trans. Le Guin] (1982), . [.] (1992), . [.] (1998), and . [.] (2002), images of nature, landscape, and travel are at the root of a propo