El teatro de Alfonsina Storni: feminismo e innovación Public Deposited

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Alternate title
  • Alfonsina Storni's theater: feminism and innovation
Last Modified
  • March 21, 2019
Creator
  • Garzón-Arrabal, Celia
    • Affiliation: College of Arts and Sciences, Department of Romance Studies
Abstract
  • This dissertation examines Alfonsina Storni’s construction of a feminist dramatic persona, filling a void in the study of the female subject in her theater. It focuses also on the ways in which Storni represents new models of women’s behavior within the more egalitarian society she imagines as well as on how the male characters are affected by the emergence of a feminine subject. The construction of new gender models and the demystification of old stereotypes is contextualized within Storni’s feminist agenda as expressed in her essays, poetry, and interviews. The Preface introduces the methodology, feminist theories, and critical works that back up my research. Chapter one is a general introduction to Argentine theater and Storni’s feminist approach to its renovation. The second chapter examines her innovation of the Argentine stage of the early twentieth century through an analysis of her realist plays El amo del mundo (1927) and La debilidad de Mr. Dougall. Storni´s revolutionary avant–garde pyrotechnic style is studied in Chapter three through her Dos farsas pirotécnicas (1931): Polixena y la cocinerita and Cimbelina en 1900 y pico. In order to round out the study of Storni’s program of social feminist change, I examine in Chapter four the social, moral, and gender lessons inscribed in her six posthumously published children plays, Blanco... Negro... Blanco, Pedro y Pedrito, El Dios de los pájaros, Jorge y su conciencia, Los degolladores de estatuas and Un sueño en el camino. The assessment of Storni´s contributions to feminism and Argentine theater is summarized in the Conclusion.
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  • In Copyright
Advisor
  • Salgado, María Antonía
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