Search

According Maingueneau (2004; 2017), writers exist within the literary discourse, which invariably occupies a paratopic space. Despite being part of society, they occupy a special status that sets them apart from the rest of the elements of the social space. This distinctiveness is especially connoted in the case of women writers, principally in the theatre due to the immediacy of the scene. The primary objective of this paper is to analyze how female playwrights, such as Marina Otero in Love Me (2022) and Bibiana Monje in Lacura (2017), portray themselves in autofictional drama plays, with fully aware of their paratopic position. They not only include episodes of their lives in the diegesis, but also, they use this opportunity to articulate critical discourses against different social problems, such as misogyny. [ABSTRACT FROM AUTHOR]

The aim of this paper is to analyze the place that Cristina Fernández Cubas occupies in the Spanish artistic field. Through the character of the writer, it focuses on the tensions between female writing and literary institution that several of her stories stage. To this end, I rely on the concept of «paratopy» («paratopie»), developed by Dominique Maingueneau (2004), which alludes the author’s paradoxical place respect to social space, positioned simultaneously inside and outside of it. The variety of paratopic representations reveals an evolution in the authorship of Fernández Cubas: from her earliest fantastic stories, where the protagonists manifest the «anxiety of creation» (Planté 2019, 137), to the latest ones, where the non-realistic is combined with the autofictional, and the authorization of the writer – legitimized by the literary institution – is inversely proportional to her visibility as a female subject. [ABSTRACT FROM AUTHOR]