Parodia, nostalgia y memoria cultural: el nuevo (meta) realismo de Sarah Waters en Fingersmith (2002)

This paper is part of a comprehensive research work focusing on Neo-Victorianism and the uses of nostalgia and subversion in Anglophone postmillennial novels.  This particular presentation hinges on an exploration of Fingersmith (2002), a novel which Sarah Waters sets in the Victorian era b...

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Autor principal: González de Gatti, María Marcela
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Investigaciones de la Facultad de Lenguas (CIFAL), Facultad de Lenguas, Universidad Nacional de Córdoba. Avenida Enrique Barros s/n, Ciudad Universitaria. Córdoba, Argentina. Correo electrónico: revistacylc@lenguas.unc.edu.ar 2021
Materias:
Neo-Victorian
new (meta)realism
emplotment
disillusionment
re-enchantment
neovictoriana
nuevo (meta) realismo
desencanto
reencantamiento
Acceso en línea:https://revistas.unc.edu.ar/index.php/CultyLit/article/view/35676
Aporte de:
Revista de Culturas y Literaturas Comparadas de Universidad Nacional de Córdoba
id I10-R337-article-35676
record_format ojs
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-337
container_title_str Revista de Culturas y Literaturas Comparadas
language Español
format Artículo revista
topic Neo-Victorian
new (meta)realism
emplotment
disillusionment
re-enchantment
neovictoriana
nuevo (meta) realismo
emplotment
desencanto
reencantamiento
spellingShingle Neo-Victorian
new (meta)realism
emplotment
disillusionment
re-enchantment
neovictoriana
nuevo (meta) realismo
emplotment
desencanto
reencantamiento
González de Gatti, María Marcela
Parodia, nostalgia y memoria cultural: el nuevo (meta) realismo de Sarah Waters en Fingersmith (2002)
topic_facet Neo-Victorian
new (meta)realism
emplotment
disillusionment
re-enchantment
neovictoriana
nuevo (meta) realismo
emplotment
desencanto
reencantamiento
author González de Gatti, María Marcela
author_facet González de Gatti, María Marcela
author_sort González de Gatti, María Marcela
title Parodia, nostalgia y memoria cultural: el nuevo (meta) realismo de Sarah Waters en Fingersmith (2002)
title_short Parodia, nostalgia y memoria cultural: el nuevo (meta) realismo de Sarah Waters en Fingersmith (2002)
title_full Parodia, nostalgia y memoria cultural: el nuevo (meta) realismo de Sarah Waters en Fingersmith (2002)
title_fullStr Parodia, nostalgia y memoria cultural: el nuevo (meta) realismo de Sarah Waters en Fingersmith (2002)
title_full_unstemmed Parodia, nostalgia y memoria cultural: el nuevo (meta) realismo de Sarah Waters en Fingersmith (2002)
title_sort parodia, nostalgia y memoria cultural: el nuevo (meta) realismo de sarah waters en fingersmith (2002)
description This paper is part of a comprehensive research work focusing on Neo-Victorianism and the uses of nostalgia and subversion in Anglophone postmillennial novels.  This particular presentation hinges on an exploration of Fingersmith (2002), a novel which Sarah Waters sets in the Victorian era by means of a style which Kohlke has called new(meta)realism. The faux-Victorian context of Fingersmith vindicates the sensation genre, the conventions of which it first invokes but later partially subverts through thematic concerns which are alien to that genre in order to launch a project aimed at rectifying the absence of a representation of lesbianism in nineteenth-century literature. Fingersmith’s style parodies the historical record’s deliberate concealment of what Hayden White has referred to as emplotment, but it does not indict such occlusion in the vociferous ways of historiographic metafiction. Instead, the text imitates the concealment of emplotment through a counterfactual tale that camouflages its own fictionality and its own (contemporary) moment of production. Thus the novel expands cultural memory – collectively shared and linked to the identity of a lesbian subjectivity – by taking recourse to verisimilitude.  Far from interrogating the sensation novel subgenre, it reutilizes its transgressive energy to carry out an act of restorative justice. The novel is imbued with a nostalgic yearning – of a reflexive nature and pervaded by a spirit of disillusionment with respect to the present – which produces a utopian re-enchantment with writing strategies characteristic of Victorian literature. Such features are directly related to authorial powers which are perceived as having become diluted in the contemporary world. As a technology of memory, the novel proposes a paradigm in direct opposition to historiographic metafiction.
publisher Centro de Investigaciones de la Facultad de Lenguas (CIFAL), Facultad de Lenguas, Universidad Nacional de Córdoba. Avenida Enrique Barros s/n, Ciudad Universitaria. Córdoba, Argentina. Correo electrónico: revistacylc@lenguas.unc.edu.ar
publishDate 2021
url https://revistas.unc.edu.ar/index.php/CultyLit/article/view/35676
work_keys_str_mv AT gonzalezdegattimariamarcela parodianostalgiaymemoriaculturalelnuevometarealismodesarahwatersenfingersmith2002
first_indexed 2024-09-03T21:19:20Z
last_indexed 2024-09-03T21:19:20Z
_version_ 1809211311515500544
spelling I10-R337-article-356762021-11-30T15:56:04Z Parodia, nostalgia y memoria cultural: el nuevo (meta) realismo de Sarah Waters en Fingersmith (2002) González de Gatti, María Marcela Neo-Victorian new (meta)realism emplotment disillusionment re-enchantment neovictoriana nuevo (meta) realismo emplotment desencanto reencantamiento This paper is part of a comprehensive research work focusing on Neo-Victorianism and the uses of nostalgia and subversion in Anglophone postmillennial novels.  This particular presentation hinges on an exploration of Fingersmith (2002), a novel which Sarah Waters sets in the Victorian era by means of a style which Kohlke has called new(meta)realism. The faux-Victorian context of Fingersmith vindicates the sensation genre, the conventions of which it first invokes but later partially subverts through thematic concerns which are alien to that genre in order to launch a project aimed at rectifying the absence of a representation of lesbianism in nineteenth-century literature. Fingersmith’s style parodies the historical record’s deliberate concealment of what Hayden White has referred to as emplotment, but it does not indict such occlusion in the vociferous ways of historiographic metafiction. Instead, the text imitates the concealment of emplotment through a counterfactual tale that camouflages its own fictionality and its own (contemporary) moment of production. Thus the novel expands cultural memory – collectively shared and linked to the identity of a lesbian subjectivity – by taking recourse to verisimilitude.  Far from interrogating the sensation novel subgenre, it reutilizes its transgressive energy to carry out an act of restorative justice. The novel is imbued with a nostalgic yearning – of a reflexive nature and pervaded by a spirit of disillusionment with respect to the present – which produces a utopian re-enchantment with writing strategies characteristic of Victorian literature. Such features are directly related to authorial powers which are perceived as having become diluted in the contemporary world. As a technology of memory, the novel proposes a paradigm in direct opposition to historiographic metafiction. El presente trabajo es parte de una investigación mayor cuyo objeto es el neovictorianismo y las funciones de la subversión y la nostalgia en novelas anglófonas posmileniales. Esta presentación se enfoca en Fingersmith (2002), una novela que Sarah Waters ambienta en la era victoriana a través de un estilo que Kohlke ha llamado nuevo (meta) realismo. El universo faux-victoriano de Fingersmith reivindica la sensation, cuyas convenciones invoca pero luego vulnera parcialmente con temática ajena para lanzar una ofensiva rectificatoria de la ausencia de la representación del lesbianismo en la literatura del siglo XIX. El estilo de Fingersmith es paródico del ocultamiento por parte del relato histórico de lo que Hayden White ha llamado emplotment, pero no lo impugna de manera estridente, como lo haría la metaficción historiográfica, sino que lo remeda con un relato contrafáctico que disimula su ficcionalidad y su momento (contemporáneo) de producción. Así la novela expande la memoria cultural – compartida colectivamente y ligada a la identidad de una subjetividad lésbica – apelando a la verosimilitud. Lejos de interpelar el subgénero sensacionalista, Fingersmith reutiliza su energía transgresora para llevar a cabo un acto de justicia reparadora pues está imbuida de un anhelo nostálgico – de carácter reflexivo y desencantado respecto del presente – que produce un reencantamiento utópico con estrategias de escritura de la literatura victoriana que se vinculan con potestades autorales percibidas como diluidas en el mundo contemporáneo. Como tecnología de la memoria, la novela propone un paradigma de choque en oposición a la metaficción historiográfica. Centro de Investigaciones de la Facultad de Lenguas (CIFAL), Facultad de Lenguas, Universidad Nacional de Córdoba. Avenida Enrique Barros s/n, Ciudad Universitaria. Córdoba, Argentina. Correo electrónico: revistacylc@lenguas.unc.edu.ar 2021-11-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://revistas.unc.edu.ar/index.php/CultyLit/article/view/35676 Revista de Culturas y Literaturas Comparadas; Núm. 11 (2021): Número especial: Cruzando fronteras 2591-3883 1852-4737 spa https://revistas.unc.edu.ar/index.php/CultyLit/article/view/35676/35863 https://revistas.unc.edu.ar/index.php/CultyLit/article/view/35676/35864 http://creativecommons.org/licenses/by-nc-nd/4.0

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