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This article examines the configurations of female identity in contemporary novels written by Colombian women authors. Its objective is to analyze how certain protagonists negotiate their subjectivity in relation to gender mandates and idealizations. The study adopts a psychoanalytic perspective, particularly theories on the constitution of the subject, desire, and conflict with the symbolic order, articulated with gender studies and literary analysis. It argues that while some protagonists reproduce internalized normative discourses, others resort to (self-)exile as a strategy of rupture with tradition, allowing them to reconfigure their place within the social order. The article contributes to the understanding of female subjectivation processes in patriarchal contexts and to the interdisciplinary articulation between psychoanalysis and literary studies, highlighting how literature can reveal complex forms of resistance, agency, and the re-signification of women›s place within the cultural framework. Este artículo examina las configuraciones de la identidad femenina en novelas contemporáneas escritas por autoras colombianas. El objetivo es analizar cómo ciertas protagonistas negocian su subjetividad en relación con mandatos e idealizaciones de género. El estudio se apoya en una perspectiva psicoanalítica, particularmente en teorías sobre la constitución del sujeto, el deseo y el conflicto con la ley simbólica, articuladas con los estudios de género y los análisis literarios. Se argumenta que, mientras algunas protagonistas reproducen discursos normativos internalizados, otras recurren al (auto)exilio como estrategia de ruptura con la tradición, lo que les permite reconfigurar su lugar en el orden social. El artículo aporta a la comprensión de los procesos de subjetivación femenina en contextos patriarcales y a la articulación interdisciplinar entre el psicoanálisis y los estudios literarios, destacando cómo la literatura puede revelar formas complejas de resistencia, agencia y resignificación del lugar de las mujeres en el entramado cultural.

Understood in both of its senses as reason and as language, logos is supposed to provide a way to live out the dizzying turns of fortune by maintaining a core sense of self-a self that is, in turn, very much grounded on the ability to reason through language. [...]in The Consolation of Philosophy, man, the philosopher, resists not only the injustices of the world but also the (false) comforts and pleasures of non-philosophical poetry, which siren-like would have made him forget his true purpose. Dans ces plaintes, la parole, même encadrée par une technique réglée comme celle de l'art de l'éloquence, essaie de surmonter une difficulté centrale sans pour autant la forclore-la dénier parfois, mais jamais la forclore: la plainte s'amorce en-deçà du langage. Several critics have seen in Feliciana de la Voz a kaleidoscope of the plight of feminine characters in the previous two books of Persites j/ Sigismunda as well as a herald of the plucky heroines that populate books three and four.3 Her story describes the adventures and trials of a noble but not superlatively rich woman who goes against her fathers wishes and chooses for herself a husband. The affair is resolved after a tense stand-off once all characters-father, brother, Feliciana and her pilgrim protectors, her chosen husband and baby-find themselves miraculously at the monastery of Guadalupe and a friend of Don Tenorio talks sense into him.4 Her story not only recapitulates key themes from the first two books of the novel but the written lyrics that Feliciana offers to Auristela at the end of chapter five also mark the midway point of the narrative, thus signalling the importance of lyric to the novel.

This article attempts to explore the political possibilities of anger as a potential source of Black female identity construction and solidarity in Zadie Smith’s Swing Time (2016). I will argue that Audre Lorde’s insights into anger in Sister Outsider (1984) are particularly suited to understanding how anger functions in Smith’s fictional work, where this emotion is presented as a powerful “energy” (Lorde 2019: 120) that has the potential to move the subject towards a more empowered selfhood. Nevertheless, I also explore, through the discourses of Lorde (2019) and bell hooks (1995, 2012), the social boundaries and potentially damaging effects attached to this emotion. More specifically, I consider how anger, by itself, is not enough to ensure a stable sense of self because it does not directly motivate the development of female solidarity. Instead, Smith demonstrates how anger may be effectively complemented through the paradigm of care, which does encourage the protagonists to move towards each other, and towards the liberating potential of a more outward view of the world.

El auge de las redes sociales ha derivado en un uso casi estandarizado a nivel mundial de las mismas. Dentro de estas plataformas nacen una serie de comunidades emocionales o tribus urbanas digitales que se denominan como Aesthetics, destacando por unos aspectos visuales y conductuales determinados. Dentro de estos grupos de pertenencia existe un claro enfoque de género, al producirse una mayor participación femenina. Es por eso que estas nuevas tendencias arraigan lo propio de las construcciones sociales que nos acompañan, incluyendo tanto los estereotipos como el tabú en torno al cuerpo. Dentro de este contexto, destacan artistas que por su condición de nativas digitales exploran y reivindican cuestiones al respecto, como son Alex Prager, Signe Pierce, Molly Soda y Arvida Brÿstom.   

The differentiation between the experience of mothering and the institution of motherhood by Adrienne Rich changes the way that maternity is conceived. Viewing motherhood as a socially constructed, historically and culturally specific relationship direct our attention to the issues of gender, class, and ethnicity in mothering. This article contemplates on mothering/motherhood across cultures by exploring the mother images in Big Breasts and Wide Hips (Yan Mo), White Teeth (Zadie Smith), and The Kitchen God's Wife (Amy Tan), written by a Chinese, a British, and an Asian American writer, respectively. These novels critique the motherhood discourses that idealize mothers or marginalize nonwhite/working-class mothering. A comparative study of the novels indicates that cultivating an awareness that motherhood is a social and cultural, rather than biological inscription, is central to female agency, and that a mothering consciousness aligned against patriarchy and colonialism is essential for female empowerment.

Virginia Elena Ortea, an understudied author from the Dominican Republic, offers a fascinating collection of modernist metaphors for her creative process in the book Risas y lágrimas (1901) that merits further examination. Despite the seemingly romantic title of the collection, various short stories, including \"En tu glorieta\" and \"Reverie,\" employ preciosista and even decadent imagery and metaphors for the poetic process in apparent reference to canonical modernists like Darío. Here, Clark argues that Ortea's feminist adaptation of modernist symbols--through her depiction of the metamorphosis of a caterpillar into a butterfly with severed wings and a femme fatale figure reflecting the author herself--advances a critique of sexist currents within modernismo, an exploration of female subjectivity, and a proclamation of her creative process.

Este artículo tiene como objetivo examinar los modelos de feminidad fascista respaldados por el Estado Legionario Nacional rumano. Consiste en un análisis cuantitativo de contenido realizado sobre artículos publicados en el periódico oficial del régimen, Cuvântul, en una columna permanente dirigida a las mujeres. Los resultados señalan la prevalencia del modelo tradicional de \"feminidad doméstica\" sobre el modelo masculinizado de \"feminidad guerrera\". Este enfoque cuantitativo basado en el análisis de contenido se complementa con un enfoque cualitativo basado en un análisis visual de la representación de las mujeres en la prensa impresa de la Legión. Los anuncios visuales, la publicidad de productos con mujeres y otras representaciones de figuras femeninas revelan un tercer tipo de feminidad heterodoxa que sugerimos llamar \"Chic legionaria\". Con base en estos hallazgos, el estudio concluye señalando la heterogeneidad de la política de feminidad del Estado Nacional Legionario.

This paper explores how I giorni dell’abbandono represents the moment of crisis brought about what Ferrante calls la frantumaglia, a feeling of destructuration that results from the recognition of life’s meaninglessness. Both as crisis and trauma, I suggest, la frantumaglia resembles what Emily Dickinson calls a “formal feeling,” or a timeless, discombobulated state that cannot entirely be reduced to words. We will map out Olga’s process of disintegration, semantic, linguistic, and physical, to then discuss how plotting serves as a reconstructive activity in the reintegration of the self previously fragmented by loss.

This article examines the portrait of Marie in Toussaint (M.M.M.M., ed. de Minuit, Paris, 2017) and asks how Marie is represented as a woman in the tetralogy. The study shows that although Marie is portrayed as a modern, independent woman, she is also presented with different gender-stereotyped characteristics. The theoretical and methodological approach to this topic will be based on Simone de Beauvoir’s The second sex (1949), in particular the chapter “Myths” that focuses on women and myths in a historical perspective. Another question the article raises is what may be the author’s intention by playing with stereotyped characteristics. I will argue that the author exposes a modern woman’s ambivalent situation in our patriarchal society. Furthermore, that he writes within a literary tradition that gives a stereotyped representation of women as part of the collective myths.

El régimen franquista retornó a unos postulados conservadores, en lo referente a la feminidad, que pretendían devolver a la mujer al ámbito privado. Estos principios fueron transmitidos por diversos organismos e instituciones como la Sección Femenina, Auxilio Social y los centros educativos. No obstante, el régimen utilizó otros medios para difundir su doctrina. NO-DO (NOticiarios-DOcumentales) fue uno de los más emblemáticos, ya que permitía a toda la población, independientemente de la clase social, sexo y nivel de alfabetización, comprender el mensaje. En este estudio hemos utilizado NO-DO como fuente principal para conocer qué y cómo transmitió el régimen sus principios sobre la feminidad. Para ello hemos recurrido a las noticias, documentales y reportajes ―pertenecientes a la sección de Noticiarios, Documentales en Blanco y Negro y en Color, Revista de Imágenes e Imágenes del Deporte― sobre la educación femenina. Capacitar a la mujer para realizar las labores del hogar, cuidar a los hijos, ser una esposa sumisa y abnegada y una buena cristiana fue la identidad que NO-DO transmitió sobre la mujer. Además, este medio audiovisual también mostró otra identidad, la de las mujeres de la Sección Femenina que trabajaban formando a las niñas, jóvenes y adultas en la doctrina nacionalsindicalista y católica.