By Marta Sierra (auth.)
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Sample text
In fact, Argentine modern traditions should be shaped by European influences, which the local writer could transform, redefine, and even “treat with disrespect” (273). The nineteenth-century landscape of Buenos Aires offered Borges the perfect site to experiment with 32 ● Gendered Spaces in Argentine Women’s Literature these ideas of artistic innovation. In fact, as Cristina Grau studies, Borges’s early works, especially his poetry, redefined the city’s architecture. The home is central in this spatial rhetoric; patios, windows, and narrow corridors are part of this reinvention of Buenos Aires, according to modernist aesthetics.
Struggling with the division of cultural labor that confined them to the realm of the home, women “manifested an emergent feminism for its time: a distinct self-consciousness about gender, a recognition that the rhetoric or realities of modernity posed singular challenges for women, and keen attention to their own anomalous status as women writers” (23). Experiences of travel and immigration also provided a new set of challenges for gendered spatial divisions. 10 Upper-class women ventured outside of the restrictive boundaries of the home and the domestic and began exploring new writing formats.
Narrated in third person, it centers on the protagonist’s female subjectivity, a detached yet intimate perspective in which the narrator adopts an “ethnographic position as participant observer” (Unruh 81). Travel writing entails, according to Mónica Szurmuk, this transformation of the writer/narrator into a “stranger”; it is a genre that “requires leaving the comfort zone, as it were, traveling to other places, questioning categories . . such as home, landscape, region, language and nation” (8).