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
SEDICI (UNLP)
Institución
Universidad Nacional de La Plata
OAI Identificador
oai:sedici.unlp.edu.ar:10915/115230
Acceder
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spelling 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)2025-10-29T15:31:18Zoai: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:13292025-10-29 15:31:18.622SEDICI (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.
publishDate 2006
dc.date.none.fl_str_mv 2006
dc.type.none.fl_str_mv info:eu-repo/semantics/conferenceObject
info:eu-repo/semantics/publishedVersion
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http://purl.org/coar/resource_type/c_5794
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status_str publishedVersion
dc.identifier.none.fl_str_mv http://sedici.unlp.edu.ar/handle/10915/115230
url http://sedici.unlp.edu.ar/handle/10915/115230
dc.language.none.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv info:eu-repo/semantics/altIdentifier/url/http://www.memoria.fahce.unlp.edu.ar/trab_eventos/ev.13124/ev.13124.pdf
info:eu-repo/semantics/altIdentifier/issn/1668-8449
dc.rights.none.fl_str_mv info:eu-repo/semantics/openAccess
http://creativecommons.org/licenses/by-nc-sa/4.0/
Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)
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rights_invalid_str_mv http://creativecommons.org/licenses/by-nc-sa/4.0/
Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)
dc.format.none.fl_str_mv application/pdf
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repository.mail.fl_str_mv alira@sedici.unlp.edu.ar
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