The mighty gaze of power in Earl Lovelace's <i>The Dragon Can't Dance</i> and <i>The Wine of Astonishment</i>
- Autores
- Basabe, Enrique Alejandro
- Año de publicación
- 2006
- Idioma
- inglés
- Tipo de recurso
- documento de conferencia
- Estado
- versión publicada
- Descripción
- The Dragon Can’t Dance (1979) and The Wine of Astonishment (1982) have been read as gestures of resistance and their characters as social types moving from mere victims of cultural oppression into purportive agents of their own destiny probably due to Lovelace’s open commitment to writing the folk. However, subjects and their identities should be read in wider networks of human relationships than the ones offered by the mere oppositional dualities of modernity. This work aims at describing Lovelace’s characters as not only tied to their own identities by conscience and self-knowledge but also still subject to social institutions by control and dependence. Therefore, the description suggests that self-identity can never be totally pulled apart from social control and that there are always traps for the gaze authorising certain institutionalized subjects to see the folk the way they do.
Facultad de Humanidades y Ciencias de la Educación - Fuente
- Memoria académica
- Materia
-
Letras
Literatura
poder
Control social
instituciones sociales - Nivel de accesibilidad
- acceso abierto
- Condiciones de uso
- http://creativecommons.org/licenses/by-nc-sa/4.0/
- Repositorio
- Institución
- Universidad Nacional de La Plata
- OAI Identificador
- oai:sedici.unlp.edu.ar:10915/115230
Ver los metadatos del registro completo
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The mighty gaze of power in Earl Lovelace's <i>The Dragon Can't Dance</i> and <i>The Wine of Astonishment</i>Basabe, Enrique AlejandroLetrasLiteraturapoderControl socialinstituciones sociales<i>The Dragon Can’t Dance</i> (1979) and <i>The Wine of Astonishment</i> (1982) have been read as gestures of resistance and their characters as social types moving from mere victims of cultural oppression into purportive agents of their own destiny probably due to Lovelace’s open commitment to writing the folk. However, subjects and their identities should be read in wider networks of human relationships than the ones offered by the mere oppositional dualities of modernity. This work aims at describing Lovelace’s characters as not only tied to their own identities by conscience and self-knowledge but also still subject to social institutions by control and dependence. Therefore, the description suggests that self-identity can never be totally pulled apart from social control and that there are always traps for the gaze authorising certain institutionalized subjects to see the folk the way they do.Facultad de Humanidades y Ciencias de la Educación2006info:eu-repo/semantics/conferenceObjectinfo:eu-repo/semantics/publishedVersionObjeto de conferenciahttp://purl.org/coar/resource_type/c_5794info:ar-repo/semantics/documentoDeConferenciaapplication/pdfhttp://sedici.unlp.edu.ar/handle/10915/115230<a href="http://www.memoria.fahce.unlp.edu.ar" target="_blank">Memoria académica</a>reponame:SEDICI (UNLP)instname:Universidad Nacional de La Platainstacron:UNLPenginfo:eu-repo/semantics/altIdentifier/url/http://www.memoria.fahce.unlp.edu.ar/trab_eventos/ev.13124/ev.13124.pdfinfo:eu-repo/semantics/altIdentifier/issn/1668-8449info:eu-repo/semantics/openAccesshttp://creativecommons.org/licenses/by-nc-sa/4.0/Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)2025-09-29T11:26:10Zoai:sedici.unlp.edu.ar:10915/115230Institucionalhttp://sedici.unlp.edu.ar/Universidad públicaNo correspondehttp://sedici.unlp.edu.ar/oai/snrdalira@sedici.unlp.edu.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:13292025-09-29 11:26:11.23SEDICI (UNLP) - Universidad Nacional de La Platafalse |
dc.title.none.fl_str_mv |
The mighty gaze of power in Earl Lovelace's <i>The Dragon Can't Dance</i> and <i>The Wine of Astonishment</i> |
title |
The mighty gaze of power in Earl Lovelace's <i>The Dragon Can't Dance</i> and <i>The Wine of Astonishment</i> |
spellingShingle |
The mighty gaze of power in Earl Lovelace's <i>The Dragon Can't Dance</i> and <i>The Wine of Astonishment</i> Basabe, Enrique Alejandro Letras Literatura poder Control social instituciones sociales |
title_short |
The mighty gaze of power in Earl Lovelace's <i>The Dragon Can't Dance</i> and <i>The Wine of Astonishment</i> |
title_full |
The mighty gaze of power in Earl Lovelace's <i>The Dragon Can't Dance</i> and <i>The Wine of Astonishment</i> |
title_fullStr |
The mighty gaze of power in Earl Lovelace's <i>The Dragon Can't Dance</i> and <i>The Wine of Astonishment</i> |
title_full_unstemmed |
The mighty gaze of power in Earl Lovelace's <i>The Dragon Can't Dance</i> and <i>The Wine of Astonishment</i> |
title_sort |
The mighty gaze of power in Earl Lovelace's <i>The Dragon Can't Dance</i> and <i>The Wine of Astonishment</i> |
dc.creator.none.fl_str_mv |
Basabe, Enrique Alejandro |
author |
Basabe, Enrique Alejandro |
author_facet |
Basabe, Enrique Alejandro |
author_role |
author |
dc.subject.none.fl_str_mv |
Letras Literatura poder Control social instituciones sociales |
topic |
Letras Literatura poder Control social instituciones sociales |
dc.description.none.fl_txt_mv |
<i>The Dragon Can’t Dance</i> (1979) and <i>The Wine of Astonishment</i> (1982) have been read as gestures of resistance and their characters as social types moving from mere victims of cultural oppression into purportive agents of their own destiny probably due to Lovelace’s open commitment to writing the folk. However, subjects and their identities should be read in wider networks of human relationships than the ones offered by the mere oppositional dualities of modernity. This work aims at describing Lovelace’s characters as not only tied to their own identities by conscience and self-knowledge but also still subject to social institutions by control and dependence. Therefore, the description suggests that self-identity can never be totally pulled apart from social control and that there are always traps for the gaze authorising certain institutionalized subjects to see the folk the way they do. Facultad de Humanidades y Ciencias de la Educación |
description |
<i>The Dragon Can’t Dance</i> (1979) and <i>The Wine of Astonishment</i> (1982) have been read as gestures of resistance and their characters as social types moving from mere victims of cultural oppression into purportive agents of their own destiny probably due to Lovelace’s open commitment to writing the folk. However, subjects and their identities should be read in wider networks of human relationships than the ones offered by the mere oppositional dualities of modernity. This work aims at describing Lovelace’s characters as not only tied to their own identities by conscience and self-knowledge but also still subject to social institutions by control and dependence. Therefore, the description suggests that self-identity can never be totally pulled apart from social control and that there are always traps for the gaze authorising certain institutionalized subjects to see the folk the way they do. |
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2006 |
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2006 |
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