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Browsing by Author "Corbalán, Ana"

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    Abajo el patriarcado: utopía lésbica en “No me llames cariño”, de Isabel Franc
    (Michigan State University Press, 2010) Corbalán, Ana
    A pesar de encontramos en los albores 􀁟el siglo XXI, la literatura lesbica contimia representando una voz minoritaria y marginalizada en la tradici6n literaria espafiola. Es imposible obviar el hecho de que la escritura y escritoras lesbianas se han vista hist6ricamente obligadas a codificar su lenguaje al experimentar una doble discriminaci6n social: por ser mujeres y lesbianas. Por lo tanto, para llevar a cabo la normalizaci6n .y celebraci6n de una comunidad identitaria 'queer que resulte subversiva frente al paradigma del heterosexismo dominante, es necesario mantener una agenda revolucionaria activa que promueva visibilidad lesbica. De hecho, la literatura y el cine, entre otros medias culturales, contribuyen a naturalizar el lesbianismo, cuestionando de este modo a cultura homofobica imperante en nuestra sociedad.
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    Algún amor que no mate: Dulce Chacón ante la violencia de género
    (Visor Libros, 2008) Corbalán, Ana
    La violencia de genero es un alarmante problema social que perjudica la calidad de vida y vulnera los derechas humanos. Millones de mujeres en todo el munda son golpeadas por sus maridos, novios o exparejas en unos actos de control y coaccion de su libertad. Esta violencia se considera un asunto privado en la mayoria de las sociedades; se realiza en secreto y esta vista simbolicamente como una forma de mantenimiento del orden social y de expresion de las relaciones de poder. Segun reconocio Michel Foucault, en Discipline and Punishment, el cuerpa es un instrumenta de poder, y si alguien interviene en el para aprisionarlo, esta privanda al individuo de una libertad que constituye tanto un derecho como una propiedad (1979: 11).
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    Cine Fantástico Y De Terror De Directoras Españolas: Una Mirada Empática
    (University of Alabama Libraries, 2026) Valentín-Sánchez, Sarah; Corbalán, Ana
    Esta tesis analiza la contribución de una serie de directoras españolas contemporáneas al cine fantástico y de terror desde una perspectiva de género y afectiva. A partir del estudio de seis largometrajes dirigidos por Elena López Riera, Carlota Pereda, Ana Asensio, Ángeles Huerta, Andrea Jaurrieta y Ainhoa Rodríguez, estrenados entre 2017 y 2022, la investigación propone una relectura de los géneros no miméticos como espacios para la elaboración de reflexiones críticas sobre el presente sociocultural español. Frente a la tradicional desigualdad de inclusión de las cineastas dentro del canon y a la consideración del fantástico o el terror como géneros menores, este trabajo reivindica el valor estético, político y afectivo de las propuestas fílmicas escogidas. La hipótesis central sostiene que las autoras estudiadas configuran una perspectiva fílmica novedosa caracterizada por una enunciación empática y una atención sostenida a las experiencias emocionales de los personajes, mayoritariamente femeninos. A través de relatos que rozan la autoficción, las cintas exploran emociones negativas como la ansiedad, el miedo, el malestar, el duelo o el cansancio, entendidos como manifestaciones de dinámicas más amplias, en contextos marcados por la precariedad y la desigualdad de género. Dichos afectos se articulan mediante estrategias formales y narrativas, reconfigurando tropos tradicionales del cine fantástico y de terror desde lógicas de cuidado y resistencia. This dissertation examines the contribution of a group of contemporary Spanish women filmmakers to fantasy and horror cinema from a gender and affective perspective. Through the study of six feature films directed by Elena López Riera, Carlota Pereda, Ana Asensio, Ángeles Huerta, Andrea Jaurrieta, and Ainhoa Rodríguez, released between 2017 and 2022, the project proposes a reinterpretation of non-mimetic genres as spaces for articulating critical reflections on the present sociocultural context of Spain. In response to the longstanding underrepresentation of women filmmakers within the canon and the frequent dismissal of fantasy and horror as minor genres, this study highlights the aesthetic, political, and affective significance of the selected films. The central hypothesis argues that the filmmakers under study develop an innovative cinematic perspective characterized by empathetic enunciation and sustained attention to the emotional experiences of their characters, most of whom are women. Through narratives that approach autofiction, these films explore negative emotions such as anxiety, fear, discomfort, grief, and exhaustion, understood as manifestations of broader social dynamics within contexts shaped by precarity and gender inequality. These affects are articulated through formal and narrative strategies that reconfigure traditional tropes of fantasy and horror cinema according to logics of care and resistance.
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    En Busqueda del Sumak Kawsay: Hacia un Nuevo Cine Indigenista Ecuatoriano del Siglo XXI
    (University of Alabama Libraries, 2020) Tarco Carrera, Henry Rubén; Moody (Chair), Sarah; Monette (Co-Chair), Marie-Eve; University of Alabama Tuscaloosa
    This dissertation examines indigenista cinema from Ecuador and how non-native Ecuadorian directors enact a process of decolonization in their cinematographic productions through construction of different images that seek to empower, rescue and preserve the traditions and cultures of the Kichwa people in Ecuador. This pattern is apparent in such films as Galo Urbina’s Ayawaska (2007), José Paúl Moreira’s Saraguro: historia con sangre Inka (2010), Ví­ctor Arregui’s El facilitador (2013), and Gabriel Páez’s Vengo volviendo (2015). These indigenista motion pictures incorporate the indigenous inhabitants' epistemologies, principles and worldviews, which, excluded by modernity, lead to the philosophy of life known as Sumak Kawsay, or the attainment of a full life, defined as a harmonic and balanced state of being. In this manner, the films move away from traditional feature films made in Ecuador or in broader Latin America, which only tend to display values and ideals of Western civilization. In contrast, these indigenista films portray the indigenous way of life and the native epistemes in a positive light, thereby contributing to an intercultural dialogue with the aim of imagining a future decolonized Ecuador, free of the hierarchies of the modern/colonial world-system. These cinematographic productions can be linked to the demands for justice and equity that the Confederation of Indigenous Nationalities of Ecuador has repeatedly made of the Ecuadorian state. The government’s imposition of neoliberal economic policies led to economic and political instability beginning with the government of former president Jamil Mahuad, lasting until 2007 and occurring again in October of 2019. Indigenous peoples demanded that the Ecuadorian state carry out social, political and economic reforms to the benefit of all its citizens. These demands had a significant impact on the films made in Ecuador, which have become artistic d Degree Awarded*: Doctor of Philosophy Department*: Spanish Primary Subject Category*: Hispanic American studies [0737] Additional Subject Categories: Keywords (include up to 6): Advisor/Supervisor/Committee Chair*: Enter your primary advisor(s), not your entire committee. Do not include degrees as part of the name. First name: Middle Initial: Last name: Committee Members: Include up to 10 names. Do not include degrees as part of the name. First name: Middle Initial: Last name: Add another member evices that reflect the ideals of the indigenous peoples.
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    Espacio y violencia en la novela centroamericana del siglo XXI
    (University of Alabama Libraries, 2013) Rojas-Arce, Laura; Bazuero-Pecino, Álvaro; University of Alabama Tuscaloosa
    Throughout the 21st century, Central America has experienced widespread violence despite the signing of the Peace Agreements during the 1990s. The existing conflict has inevitably influenced the literature of this region and this dissertation entitled Espacio y violencia en la novela centroamericana del siglo XXI, examines four Central American texts that form an important part of the writings from this time and place. The novels to be analyzed include: El arma en el hombre (2001) by the Salvadorian writer Horacio Castellaños Moya, El hijo de casa (2004) written by Guatemalan Dante Liano, Sombras nada más (2002) by the Nicaraguan author Sergio Ramírez and Verano rojo (2010) by Daniel Quirós, a Costa Rican writer. This dissertation aims to show that violence in these areas has infiltrated spaces of social interaction and more specifically, the boundaries between public and private spaces have been transgressed and blurred due to increased conflict in both spheres. Throughout these novels, the characters are depicted both as victims of this brutality and, in many cases, instigators of violence, illustrating diverse and contrastive perspectives. The analysis of these texts also brings to light the sociopolitical context surrounding this vicious atmosphere; problems such as national corruption and a general mistrust of the legal system have directly impacted the sociopolitical climate in these countries. These novels establish that the violence has not dissipated, but instead maintains a continuous presence making it an almost daily occurrence. Conflict consistently permeates public, private, urban and rural spheres and these texts illustrate a wide array of perspectives, all of which serve to demystify the singular view of history that the hegemony wishes to propagate.
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    Espejo de identidades: género, inmigración y violencia en cine dirigido por mujeres españolas y latinoamericanas
    (University of Alabama Libraries, 2012) Boris, Marta; Corbalán, Ana; University of Alabama Tuscaloosa
    My dissertation Espejo de identidades: género, inmigración y violencia de género en directoras latinoamericanas y españolas, examines four 4 Latin American films and two 2 Spanish films, all of which were directed by Hispanic females during the 20th and 21st centuries. These directors intend to establish a new representation of women which that diverges from the traditional historical male depiction of these women. I have chosen to study the works of Gabriela David (Argentina), Sofía Vaccaro (Argentina), María Novaro (Mexico), Marysa Systach (Mexico), Chus Gutiérrez (Spain) and Irene Cardona (Spain) because they provide diverse contemporary perspectives regarding the way in which Spanish-speaking directors approach the topics of immigration and gender in a postmodern context. This dissertation seeks to deconstruct the connection that has linked gender and female-directed cinema, arguing that cultural factors as well as ideology are the true underpinnings for cinema directed by women. The increasing number of female-directed films over the past two 2 decades in these two particular geographical areas has brought about the need for fresh research to establish a new representation of female-directed cinema which that deconstructs the connection linking gender and films directed by women, which is commonly called cine de mujeres. Contrary to what is currently understood as cine de mujeres, this new representation of cinema directed by women is one in which the intention of the female director is not to exclusively portray the fictional stories of women that respond to patriarchal stereotypes. Instead, the director establishes a transgression of those stereotypes, identifying with and giving voice to a marginal and subaltern individual that transcends gender, origin, race, and ethnicity, which in many instances happens to be a woman. Overall, my dissertation offers an in-depth study of female filmic discourse, identity discourse, gender violence, migration studies and film strategies, among others.
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    From angels to agents: women, travel, and nation-building in Nineteenth-century Argentine literature
    (University of Alabama Libraries, 2015) Grassmann, Elizabeth; Moody, Sarah; University of Alabama Tuscaloosa
    Abstract This dissertation examines how women were represented in nineteenth-century Argentine literature through the evaluation of the societal functions of women in literary texts and by investigating what power women employed in these writings. I explore what challenges were made toward traditional female characterizations and gender roles to analyze what advancements occurred for women of this time period as reflected in the literature. I also investigate if this literature contributes to a feminist perspective. The main objectives of this study are to further develop our understanding of women as active participants in the public/private sphere, to demonstrate how literature of this time period can be a tool to exercise female agency, and to explore how these literary works contribute to the renegotiation of traditional binaries such as public/private and male/female. I study antirrosista texts and travel narratives to assert that some women authors employed these genres to destabilize conventional gender roles and identities to rebel against patriarchal attempts to restrict and control female identity and positions in society. The findings of this research offer insight into how female agency was established in nineteenth-century Argentine literature through the position of heroine and the construction of alternative female models of identity through gender inversion, blurring gender lines, or, in some cases, directly contesting gender divisions. This research also affirms that antirrosista literature and travel narratives are mutually informing and co-implicating due to their status as resistance literature.
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    Generacion salida
    (University of Alabama Libraries, 2016) Beard, Caroline E.; Corbalán, Ana; University of Alabama Tuscaloosa
    In less than a decade since the onset of the global economic crisis, more than 2 million people have left Spain in search of work and the possibility of a livable existence. Many of these economic exiles are young and highly qualified, leading some to classify this exodus as a brain drain. Lingering labor market instability and growing mistrust in Spain’s political system portend a challenging future for members of the so-called “lost generation,” both at home and abroad. Meanwhile, many questions remain about the lasting effects and repercussions of the crisis and massive departure of young Spaniards. In response, the recession and ensuing surge in emigration have been popular themes of economic, demographic and sociological research in recent years; however, the cultural productions representative of this group remain relatively unstudied. The current investigation focuses on a selection of documentary films and fictional literature that portray the experiences of these highly qualified migrants. Through close analysis of these works, narrative patterns and trends appeared. These literary and audiovisual texts manifest the dialectical tensions of exile literature theorized by Sophia McClennen as well as the complex nostalgias of Svetlana Boym. They also reject and redefine the generational terms imposed upon them, express diasporic solidarity and call for political involvement and collective action. The rhetorical undercurrents at work in these constructions of individual and group identity suggest the emergence of an archetypal narrative of the new Spanish migrant. The cultural negotiations implicit in this narrative seem to confirm that sweeping but gradual societal changes are taking effect, even beyond Spain's borders.
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    The inextricable connection of the personal and the political in transition-era Spain
    (University of Alabama Libraries, 2018) Reynolds, Jenna E.; Corbalán, Ana; University of Alabama Tuscaloosa
    During the last years of the 1970s, Spain faced a shift from dictatorship to democracy upon the death of dictator, Francisco Franco. This period of change from dictatorial regime to democracy is referred to as the Transition. This era inspired new political ideas and reflection on societal attitudes. Most specifically related to this thesis, feminism began to gain ground. The two works that I explore, the magazine, Vindicación feminista and the novel, Crónica del desamor exemplify the idea that the personal is political, and particularly for women living in this time through their exploration of highly politicized and at the same time, quite personal themes. This thesis establishes that here is an indivisible link between the personal and political by analyzing the themes shared by the two primary works that elucidate this connection: reproductive rights, sexuality, women’s writing, labor, and the constructs of motherhood and family. Vindicación feminista and Crónica del desamor demonstrate the multidimensional face of feminism through their respectively non-fictional and fictional approaches while sharing language and themes. The magazine considers the Transition through an explicitly political lens while highlighting the personal and the novel does so through an intimate point of view, interweaving the political. Ultimately, both texts advocate the focus on the personal, daily aspect of the political and the importance of this connection in achieving societal progress
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    Insumisas: Activismo Femenino Por La Igualidad de Género
    (Anthropos, 2019) Corbalán, Ana
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    La escritura de la memoria como herramienta de diálogo en la metanovela española del siglo XXI
    (University of Alabama Libraries, 2014) Hines-Brooks, Shelly Marie; Corbalán, Ana; University of Alabama Tuscaloosa
    This dissertation explores how the use of metafiction in four novels that were published in the 21st century creates a dialogue with the historical memory of the Spanish Civil War. These works, which are referred to as 'metanovels' in this study, are: El corazón helado (2007) by Almudena Grandes; Mala gente que camina (2006) by Benjamin Prado; Otra maldita novela sobre la guerra civil (2007) by Isaac Rosa, and Cielo abajo (2005) by Fernando Marías. One of the most important focuses of the project is how present perspectives influence interpretations of the past. In fact, in all of the analyzed novels there are characters that live in the 21st century and investigate a mystery from the Civil War or the dictatorship. This study argues that the generational distance in time from the historically traumatic events provides a point of view that facilitates a type of reconciliatory re-writing of the Civil War that was not possible three decades before the publication of the books studied. Furthermore, according to this research the technique of reflexivity used by the authors --and represented in the books themselves by characters who are also readers and/or writers-- increases the sense of connection and the feeling of involvement in the reconstruction of the past felt by the readers of these works. Finally, this research project maintains that the metanovels pertaining to the literary genre analyzed in this study function as keepers of Spanish historical memory for their readers.
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    La novela policiaca femenina hispánica: hacia un canon de tendencia posmodernista
    (University of Alabama Libraries, 2011) Florez, Monica; Corbalán, Ana; University of Alabama Tuscaloosa
    This dissertation, entitled La novela policiaca femenina hispánica: hacia un canon de tendencia posmodernista, examines 11 detective novels from Hispanic women writers of the present century in order to establish the emergence of a new literary canon. The works under study are Ritos de muerte (1996), Serpientes en el paraíso (2002), Un barco cargado de arroz (2004), Nido vacío (2007), and El silencio de los claustros (2009) by Spanish writer Alicia Giménez Bartlett; No me llames cariño (2004) by Spanish writer Isabel Franc; La mujer que sabía demasiado (2006) by Colombian writer Silvia Galvis; Son de Almendra (2006) by Cuban writer Mayra Montero; La muerte me da (2007) by Mexican writer Cristina Rivera Garza; Elena sabe (2007) by Argentinean writer Claudia Piñeiro; and Atajo al paraíso (2008) by Spanish writer Teresa Solana. These specific novels and authors were chosen because they provide a varied and contemporary transnational perspective on how Spanish-speaking women approach and appropriate the detective genre in the postmodern context. Therefore, this investigation offers an in-depth and critical analysis of these detective texts in light of their postmodern elements: the use of metafiction, intertextuality, satire and black humor, strong narrative experimentation, metaphysical and anti-detective elements, bodily and gender transgressions, and feminine representations of masculinity so as to demonstrate how they subvert the formulas and parameters of classical detective fiction. Considering how much the production and criticism of Hispanic crime literature has grown in the last two decades, there is a considerable lack of research in terms of the feminine contribution to the genre. This study then helps to fill this critical gap by offering a timely and needed perspective on the importance of women's writings within the field of Spanish and Latin American literary studies.
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    Masculinidades en crisis: Representación literaria de la violencia de género en España
    (Fundación General de la Universidad de Alcalá, 2020) Corbalán, Ana
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    Masks and moments of discernment in the bildungsroman caribeñounidense: the case of Edwidge Danticat and Junot Díaz
    (University of Alabama Libraries, 2016) Blackbourn, Forrest Maddux; Rodeño, Ignacio F.; University of Alabama Tuscaloosa
    This dissertation explores the coming-of-age processes of characters that are perceived as marginal as a result of migratory experiences involving the Caribbean and the United States. Through the theoretical frameworks of Cultural Studies, Postcolonial Studies, Gender Studies, Sexuality Studies, Race and Ethnicity Studies, New Historicism, and Narratology, this project addresses issues of race, ethnicity, gender, and sexuality in the works of Edwidge Danticat and Junot Díaz. The characters in Edwidge Danticat’s Breath, Eyes, Memory, The Farming of Bones, and Krik? Krak!, in addition to those in Junot Díaz’s Drown, The Brief Wondrous Life of Oscar Wao, and This Is How You Lose Her experience cultural challenges as a result of their migratory experiences. In the midst of migration involving Haiti, the Dominican Republic, and the United States, these characters discover hegemonic, cultural circumstances with which they find it difficult or impossible to identify. This ultimately creates a crisis of identity as well as considerable challenges that inhibit the coming-of-age process. The migratory characters in these texts ultimately come of age through the moment of discernment in which they discover that complete assimilation to United States cultural communities is undesirable; as is total dissimilation from Dominican and Haitian cultural communities. Through wearing cultural masks that are imposed upon them by the dominant, hegemonic other and cultural masks that are self-imposed, these characters find a way to be empowered amid the migratory circumstances that marginalize them.
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    Towards a genre of return in the contemporary Central American novel
    (University of Alabama Libraries, 2018) Roberts, Seth; Janiga-Perkins, Constance; University of Alabama Tuscaloosa
    This dissertation examines exile in four contemporary Central American novels and focuses on the return of each protagonist after an extended absence. The works establish homecoming as a critical feature of Central American literature and include El asco by Horacio Castellanos Moya, Cruz de olvido by Carlos Cortés, El retorno de los mayas by Gaspar Pedro González, and Con pasión absoluta by Carol Zardetto. The aim of this dissertation is to demonstrate that return represents a significant yet often underappreciated aspect of displacement in literature and criticism. The motivations for each character’s flight and eventual trip home are unique, and the distinctiveness of each path is mirrored in the various responses to the experience. The novels also approach return from differences of class, race, and gender that inform the perspectives and outcomes of each journey. Return is a dynamic process that contrasts memories of origins with the sudden encounter with an altered home. An important factor is the underlying tension between what was left behind and the people or places that appear unfamiliar after an extended absence. These journeys and their aftermaths spark difficult encounters and myriad obstacles. This dissertation establishes that exile and its repercussions do not cease once displacement comes to an end. The protagonists defy the assumption that exiles will seamlessly reengage with long-absent communities. In each novel, return is only the first step in a succession of trials and self-discoveries that reflect the tumultuous postwar era in Central America.
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    Trauma stories: rewriting the past through fragmentation in Spanish testimonial literature
    (University of Alabama Libraries, 2015) Poole, Betsy Brooks; Corbalán, Ana; University of Alabama Tuscaloosa
    Of all of the literary genres, that of the testimonial narrative is perhaps one of the most difficult and complex genres to study, analyze, and interpret. Combining elements and theories of memory and trauma, history (both written and oral), psychology, sociology, autobiography, gender, and cultural studies, testimonios have proven to be rich in complexity and bursting to the brim with various interpretations and cultural impacts. Upon reading both individual and collective testimonios produced within Spain and France by men and women in the aftermath of the Spanish Civil War and the duration of World War II, I have identified four primary types of fragmentation that serve not only as means of working through the haunting effects of a traumatized past and creating and re-negotiating new identities, but likewise demonstrate intentional resistance to previously established cultural norms (e.g. those solidified under the fascist regimes of Francisco Franco and Adolf Hitler). These forms of fragmentation include: temporal fragmentation, fragmentation of the voice/narrative subject, stylistic/structural fragmentation, and identitary fragmentation. Accordingly, all four forms are not only essential—and obvious—characteristics of the texts I will analyze in this dissertation, but, upon closer analysis, are also vital to the very act of witnessing, working through traumatic memories, recalling experiences, and (re)writing history. In essence, they are the strategic and textual means through which testimonial narrators are able to reclaim their positions as active participants of History and re-assert themselves in public discourse.