Search

Self-construction and the relationship between writing and the body are two essential problems in the works of Severo Sarduy. This article discuses then the discursive strategies by which the Cuban writer puts the body into play as a basis from which to build his own representation as an artist and as a rebel intellectual and from which he argues against the modern categories on the ground of the canon-forming process put into practice in Cuba since 1959. It also endeavours to show the way in which the use of these discursive devices tries to carry out a transgression of the disciplinary traits of writing and of the disciplined features of the body in order to make illness literary, as if it were only through language that it can be represented. [ABSTRACT FROM AUTHOR]

Copyright of Cuban Studies is the property of University of Pittsburgh Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)