The Perverse Comedy: Genre, Gender and Identity in Marosa di Giorgio’s Misales, Camino de las Pedrerías, and Rosa Mística

Citation

Montañez MS (2009) The Perverse Comedy: Genre, Gender and Identity in Marosa di Giorgio’s Misales, Camino de las Pedrerías, and Rosa Mística. In: Taylor C (ed.) Identity, Nation, Discourse: Latin American Women Writers and Artists. Newcastle upon Tyne: Cambridge Scholars Publishing, pp. 144-160. http://www.c-s-p.org/Flyers/Identity--Nation--Discourse--Latin-American-Women-Writers-and-Artists1-4438-0347-2.htm

Abstract
This chapter argues that Marosa di Giorgio’s erotic narrative sets a perverse comedy whose burlesque nuances reveal a form of denunciation and subversion through the parody of gender representation. By reflecting and reproducing the dominant male models, Di Giorgio applies a double discursive strategy that manages to subvert hegemonic discourses prevalent in early twentieth century Uruguay. In a nutshell, I illustrate how Marosa’s narrative composes a hyperbolic representation of gender that creates a comedy whose satirical connotations parodies, and then denounces, the rigid moral and political principles of Latin American societies, particularly in Uruguay.

Keywords
Latin American women's writing; eroticism; sexuality; gender identity; Judith Butler; Marosa di Giorgio