“On Crime and Madness: Adultery in Woyzeck”, Theatralia. Revista de Poética del Teatro XVI. 2014, 227-235.
With this article I aim to introduce the topic of adultery in Georg Büchner’s work with a focus on female sexuality, and the relationship between sex, murder and madness. Adultery appears as a final trigger for madness and murder, which is seen as a substitute for the sexual act between the spouses, especially from the husband’s perspective, when the wife’s adulterous relationship with her lover avoids sexual contact with her legitimate husband. Behind that, the social context where the story develops is especially important for the author’s social critique of German politics in the 1830s under the kingship of Prince Metternich.
“Between the House and the Hut: An Erotic Approach of Space in Lady Chatterley’s Lover.” The Poetics of Space in Twentieth and Twenty-First Century Culture. University of Portsmouth, Portsmouth, 29 May 2014.
Lady Chatterley’s Lover (1928) is a novel mainly structured around two main spaces: Lady Chatterley’s domestic space, and her lover’s hut in the woods. These spaces articulate Lady Chatterley’s desire and sense of femininity making them highly erotic. In her domestic space Connie Chatterley lives with her impotent husband, almost always secluded in her room. Connie finds an emotional and sexual distance from her husband, which is also expressed through the magnificent architecture of the mansion. However, her relationship with Oliver Mellors, and their sexual encounters in the hut, gives her the human and emotional contact she desires. She finds her realization as a woman in the primitive: the hut in the woods. According to Gaston Bachelard, the hut is a symbol of primitiveness which gives us a high sense of protection and refuge far from the civilized and crowded houses. I argue that the hut embodies Lady Chatterley’s longing for intimacy, her refugee and sense of primitiveness where she meets again with her sexual being: the most primitive sense of femininity. Hence, body and space correlate with each other empowering the image of the hut through sexuality: Lady Chatterley inhabits the hut as well as she is inhabited by Mellors, a fact that leads from the origin of habitation to the origin of human life. In this context I will analyse the dialectics of desire in Lady Chatterley established around the domestic space and the hut.
“Contemplating the Male Body: From Aesthetics to Sexual Pleasure in Homosexual Literature”. Materiality and Corporeality: The Body in Popular Fiction and Visual Culture. University of Portsmouth, Portsmouth, 6 June 2013.
In this paper I analyse the representations of male bodies in André Gide’s The Immoralist (1902), Thomas Mann’s Death in Venice (1912) and D.H. Lawrence’s Women in Love (1920), with a particular focus on the perception with which the perceiving subject beholds the body. The male body is often turned into a voyeuristic spectacle when it is described in elaborate detail and perceived by an attentive subject whose gaze enjoys the contemplation of the object-body. On the one hand, the bodies that are objectified in that manner become objects of aesthetic contemplation. On the other hand, however, they also become potential sources for sexual pleasure. This article investigates the ways in which perceptions of male bodies are aestheticized and/or eroticised in these texts.
“Uncanny Aesthetics in Kafka’s America or The Man who Disappeared”. Nineteenth- Century Aetiologies, Exoticism, and Multimodal Aesthetics Conference, Liverpool University, Liverpool, 2 April 2013.
This paper analyses the aesthetic creation of the Uncanny in the narrative of Kafka, especially in his novel Amerika, first published in 1927. The paper argues how the Uncanny can be perceived through the descriptions the main character does of the closed spaces or buildings which appear in the novel. The subjective perception of Karl Rossmann is linked to his unconscious and indicates a presence of the ‘unintentional return’ of a threat, in this case the threat of being expelled once and again which justifies his endless wanderings in America.
“The Illness of the Environment: Nature, Culture and Human Life in The Time of the Doves”. LVIII Annual Conference of the Anglo-Catalan Society, University of Sheffield. Sheffield, 9-11 November 2012.
I analyse in The Time of the Doves how the experience of the war goes beyond the narrator’s subjective perception and it involves all her surroundings. First of all, I analyse the relation between war and the destruction of material and espiritual goods. Then, culture will be considered as a whole, that is, englobing both human parts: material and espiritual ones, and its relation to the environment.An important part of this analisys is the symbolic language because through it the author widely achieves the unity between Natàlia’s individual point of view and the universal meaning that simbology allows. Thus, a novel with a unique narrator perspective becomes one of common experience. Through narrator’s language, her personal experience of the war acquires a cosmologycal meaning, and it is through this characteristic that The Time of the Doves becomes universal.
“La Culpa en Macbeth y La Vida es Sueño” in 1616: Anuario de la Sociedad Española de Literatura General y Comparada” Vol. 2, 2012.
This article introduces an analysis about the guilt in the characters of Macbeth (Shakespeare, Macbeth) and Basilio (Calderón de la Barca, La Vida es Sueño). The shame, in order to be absolutely assumed, should be the result of free decisions taken by the subject, therefore, in both works should be considered the influence of external elements on the characters, as for example, the witches in Macbeth and the stars in La Vida es Sueño. This also leads to a reflection on responsibility, freedom and consciousness in both characters. The comparative regards the analysis of the external elements and its influence on the events in the works, the two different manners of dealing with guilt, which leads, in one case, to the destruction of the character, and in the other case, to his redemption.