Abstract
AbstractEven though there are numerous studies on Carpentier's Concierto barroco in both Spanish and English, this article is the first gender aware reading of the novella. The theoretical framework for this analysis draws on the works of feminist theorists including Simone de Beauvoir, Catherine Belsey, and Susan Rubin Suleiman. The author treats the issue of the representation of Woman in the text either as a denigrated grotesque object, as a comic, burlesque object, as an angel-like male fantasy, or as an aesthetic reference to Woman as myth—such as Eve or La Malinche. After presenting a general discussion of the construction of gender during the Baroque period, Maloof enters into a textual analysis and points out the specific moments of narrative ambiguity related to the depiction of Woman as the Other.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callMore From: Canadian Journal of Latin American and Caribbean Studies
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
