{"id":1077,"date":"2024-05-06T11:28:28","date_gmt":"2024-05-06T15:28:28","guid":{"rendered":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/?p=1077"},"modified":"2024-05-20T20:47:36","modified_gmt":"2024-05-21T00:47:36","slug":"leyendo-liliana-colanzi-entrada-2","status":"publish","type":"post","link":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/country\/bolivia\/leyendo-liliana-colanzi-entrada-2\/","title":{"rendered":"Leyendo a Liliana Colanzi: Entrada #2"},"content":{"rendered":"

El Camino Angosto<\/span><\/i>\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

El pen\u00faltimo cuento incluido en el libro, <\/span>El camino angosto<\/span><\/i>, es un ejemplo muy claro del uso de elementos de lo sobrenatural en la obra de Colanzi. La narradora, Susana, describe su vida dentro de una colonia religiosa separada de la sociedad exterior por el \u201cper\u00edmetro\u201d. Susana acepta como realidad las ense\u00f1anzas de la colonia, mientras que su hermana Olga \u201cse cans\u00f3 de vivir en el camino angosto\u201d y no cree en lo que dicen los miembros de su comunidad sobre la vida afuera. El cuento entreteje las contemplaciones de Susana y narraciones de interacciones con Jonas con las pr\u00e9dicas del Reverendo de la colonia. \u00a0El per\u00edmetro encierra a la colonia dando choques el\u00e9ctricos a quienes tratan de cruzarlo, \u201cal acercarnos al campo magn\u00e9tico las descargas van haciendo m\u00e1s intensas, m\u00e1s urgentes, hasta que volvemos a elegir el camino del Se\u00f1or\u201d (78). Adem\u00e1s, hay algo llamado \u201cmetamaterial\u201d que desactiva al per\u00edmetro y los deja salir. A lo largo de la historia las hermanas se van formando una amistad con un chico llamado Jonas, quien les muestra el metamaterial.<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Como en muchos de los cuentos de Colanzi, hay temas de<\/span>l<\/span> g\u00e9nero y adem\u00e1s una filosof\u00eda feminista que permite que el texto refleje aspectos de la sociedad patriarcal. Por ejemplo, en la colonia solo los hombres pueden salir del per\u00edmetro. El reverendo les da permiso. Por esto, los hombres son quienes tienen el conocimiento y el poder. Sin embargo, Susana menciona que su hermana Olga, no cree en ninguna de los cuentos sobre el mundo afuera del per\u00edmetro. Este es un ejemplo de la actitud feminista, porque Colanzi crea a un personaje femenina que desaf\u00eda las expectativas e interroga la narrativa proporcionada por las figuras de autoridad. Como otro ejemplo, cuando las ni\u00f1as hablan con el personaje de Jonas<\/span>,<\/span> les amenaza \u201ccon matarnos\u201d, un ejemplo claro de la violencia contra las mujeres. Finalmente, en una de mis citas favoritas del cuento, a Susana le llega la regla por primera vez y dice, \u201cUna vez mi vestido se ti\u00f1\u00f3 de sangre y yo me puse a llorar porque pens\u00e9 que me mor\u00eda. Result\u00f3 que ya era mujer.\u201d Utilizando elementos de fantas\u00eda, Colanzi logra un comentario poderoso sobre el tratamiento de las mujeres dentro de una sociedad opresiva. <\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

The penultimate story included in the book, “The Narrow Road,” is a very clear example of the use of supernatural elements in Colanzi’s work. The narrator, Susana, describes her life within a religious colony separated from the outside society by the “perimeter.” Susana accepts the teachings of the colony as reality, while her sister Olga “grew tired of living on the narrow road” and does not believe what the members of her community say about life outside. The story interweaves Susana’s contemplations and narrations of interactions with Jonas with the preachings of the Reverend of the colony. The perimeter encloses the colony with electric shocks to those who try to cross it, “as we approach the magnetic field, the shocks become more intense, more urgent, until we choose the path of the Lord again” (78). Additionally, there is something called “metamaterial” that deactivates the perimeter and allows them to leave. Throughout the story, the sisters form a friendship with a boy named Jonas, who shows them the metamaterial.<\/span>\u00a0<\/span><\/p>\n

As in many of Colanzi’s stories, there are themes of gender and also a feminist philosophy that allows the text to reflect aspects of patriarchal society. For example, in the colony, only men can leave the perimeter. The reverend gives them permission. Because of this, men are the ones with knowledge and power. However, Susana mentions that her sister Olga does not believe in any of the stories about the world outside the perimeter. This is an example of a feminist attitude because Colanzi creates a female character who challenges expectations and questions the narrative provided by authority figures. As another example, when the girls talk to the character of Jonas, he threatens them “with killing us,” a clear example of violence against women. Finally, in one of my favorite quotes from the story, Susana gets her period for the first time and says, “Once my dress was stained with blood and I started crying because I thought I was dying. It turned out I was already a woman.” Using elements of fantasy, Colanzi achieves a powerful commentary on the treatment of women within an oppressive society.<\/span>\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

El Camino Angosto\u00a0 \u00a0 El pen\u00faltimo cuento incluido en el libro, El camino angosto, es un ejemplo muy claro del uso de elementos de lo sobrenatural en la obra de Colanzi. La narradora, Susana, describe su vida dentro de una… Continue Reading →<\/a><\/p>\n","protected":false},"author":1146,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,27],"tags":[],"class_list":["post-1077","post","type-post","status-publish","format-standard","hentry","category-bolivia","category-liliana-colanzi"],"_links":{"self":[{"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/posts\/1077","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/users\/1146"}],"replies":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/comments?post=1077"}],"version-history":[{"count":0,"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/posts\/1077\/revisions"}],"wp:attachment":[{"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/media?parent=1077"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/categories?post=1077"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/hispanic-studies-3257-spring-2024\/wp-json\/wp\/v2\/tags?post=1077"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}