About The Work

Selected Dissertations About Boullosa´s Work

Katharina Kayser, Historiografias y localizaciones subalternas en las novelas de Carmen Boullosa, PhD, UNIVERSITY OF WASHINGTON, 1998. ...an analysis of historical novels published between 1991 and 1997, Son vacas, somos puercos, Llantos: novelas imposibles, Duerme, and Cielos de la tierra, "The main questions I address are the following: how can literature re-examine the positionality of the subaltern subject of the colonial past, in order to come to an understanding of its present (lack of) agency? Can there be a writing free from the colonizing enterprise and, if so, what are its premises? By what means is the literature examined here countering official history? Whose interests invest this literature, in contrast to the historical texts it fictionalizes? Can contemporary literature propose another concept of historiography and serve as an alternative model of representing history? I will discuss three major proposals towards a rethinking of history and its relationship to situating the subject: first, the intransparency of the writing subject, which calls for a problematization of the locus of speech; second, the representation of lack of closure through multiple approaches to 'history,' and third, a differentiation between event and discourse, proving that discourse conditions the positionality of the subaltern subject".

Sabine Coudassot-Ramírez, Carmen Boullosa: Itinéraries d'une graphographe fantastique. Thèse pour obtenir le grade de Docteur de L'UNIVERSITÉ DE LA SORBONNE (Paris III), 365 pp, 2001.

Anna Reid, Historiographical and Political Discourses in the Work of Carmen Boullosa, PhD, KINGS COLLEGE, LONDON, 2000.

Barbara Rebecca Fick, Narrative transgression and disembodied voices: The reconstruction of identity in the novels of Carmen Boullosa (Mexico), PhD, THE UNIVERSITY OF TENNESSEE, 2000, 184 pp. …This study presents a postmodern-feminist analysis of Boullosa's nine novels published between 1987 and 1998. Boullosa's writing continues and adds to many of the innovations initiated by earlier twentieth-century authors in Latin America and, in this way, interrogates textual representation in the process of identity construction through an ongoing dialogue with the past and its literature. The present study examines the strategies employed by the author in order to engage a more active reader, present plural perspectives, and challenge established social and literary institutions. … Boullosa opens up textual space for the representation of other perspectives and a plurality of voices formerly marginalized by hegemonic discourses. Her writing presents a revision of the self and Mexican identity in the twentieth century…

Shigeko Mato, Locating Female Creation In A Hybrid Space: Carmen Boullosa's Trans-Liminal Narrative (Mexico); PhD, THE UNIVERSITY OF NEW MEXICO, 2000, 167 pp. The purpose of this study is to analyze how contemporary Mexican writer Carmen Boullosa challenges the traditional notion of women's writings in three of her narratives, Mejor desaparece (1987), Papeles irresponsables (1989), and La Milagrosa (1993). In these three narratives, Boullosa creates a hybrid space in which the dichotomies of female/home/private/mass culture and male/public/and culture are destabilized. … The final chapter concludes that Boullosa's trans-liminal narrative can subvert the fixity of traditional definitions and boundaries. Algunos aspectos de la metaficcion en dos novelas de Carmen Boullosa.

Lorena Monzon, Algunos aspectos de la metaficcion en dos novelas de Carmen Boullosa. MA, THE UNIVERSITY OF TEXAS AT EL PASO, 2000 El análisis de la técnica en Mejor desaparece y Duerme nos permitirá observar cómo algunas características de la metaficción influyen en la representación de la historia misma.

Irene Wenger, Die Darstellung der indigenen Thematik bei Carmen Boullosa (Llanto, Duerme, Cielos de la Tierra). Magistra der Philosophie. UNIVERSITÄT GRAZ, 2002.

Anna Forne, Textual piracy: A hypertext study of 'Son vacas, somos puercos' and 'El medico de los piratas' of Carmen Boullosa. Fildr, LUNDS UNIVERSITET (SWEDEN), 2001. The aim of this study is to examine the rewriting of the memoirs of the former pirate Alexander Olivier Exquemelin, Los Piratas de América, originally published in Amsterdam in 1678, which the Mexican writer Carmen Boullosa carries out in two recent novels, Son vacas, somos puercos and El médico de los piratas ... The dissertation concludes with the suggestion that Son vacas, somos puercos presents a hypertextual unfolding of the ideology of the pirate's brotherhood; that the greater subjective presence of the narrator-protagonist in the rewriting highlights the temporal discrepancy between the narration and the history, and consequently also implies a greater emphasis on the disagreement between the experiences of the protagonist in the past and the present knowledge of the narrator. Furthermore it is suggested that the diegesis originally described in Exquemelin's memoirs is nuanced by the inclusion or activation of women, African slaves and Indians. The idea that in Son vacas, somos puercos, the image of the pirate is transvalorized in constructive terms is also put forward…

Corinne Machoud Nivon, Rituel de l'ecriture et metamorphoses du miroir : traductions au feminin (de et avec Carmen Boullosa). Thèse pour obtenir le grade de Docteur de L'UNIVERSITÉ DE LA SORBONNE (Paris III)422 pp.

Sara La Setta Beyer, The Many Voices Of Carmen Boullosa, Ma, Miami University, 1996 … analyze several works of Mexican poet, playwright, short-story writer, and novelist Carmen Boullosa. First, applying the theory of Mikhail Bakhtin, I attempt to prove that Boullosa's narrative voice is dialogic. Second, since a female text is not only fathered but also mothered, I intend to examine Boullosa's texts to reveal the innovative and multi-faceted ways in which are parented--whether through traditions, official histories, training, family heritage, or other means. Finally, in the texts I have noted examples of androgyny, a state of mind and of body that incorporates the whole being, as June Singer describes. I intend to demonstrate that through Boullosa's self conscious, deliberate use of feminine and masculine voices, she achieves overall an androgynous voice.

Leonor Cristina Costa Santos, The Quest For An Authentic Feminine Identity: Innovations In The Narrative by Clarice Lispector and Carmen Boullosa (Brazil, Mexico), PhD, UNIVERSITY OF TORONTO (CANADA), 2001. This doctoral dissertation is a study of the narrative techniques utilized by Clarice Lispector and Carmen Boullosa to overcome the socio-cultural bonds of language imposed on women in their respective cultures. In order to do so both authors approach the problematic of writing within a markedly patriarchal environment by subverting traditional narrative discourse. It is within this fluid narrative structure that feminine identity is explored from the philosophical perspective of alterity: to know one's self one must also know one's Other. Therefore, dialogue is the instrument through which there is potential for the discovery of identity and it is through a fragmented narrative structure that both Lispector and Boullosa provoke the reader to surpass limitations of prejudgements, semantic or otherwise. … Although the focus of this dissertation is on the process of conscientization of feminine identity it should be clear that both Boullosa's and Lispector's work incorporates the universality of the experience with the other and not the isolation of the self. Thus, the overall perspective of this study is not strictly speaking one of feminist criticism but a philosophical investigation of women's struggle for an authentic identity within a male-dominated environment that rejects self-expression by women outside the prescribed norms.

Maria Guadalupe Calatayud, (Con)fabulating facts: The politics of fantasy in the work of twentieth century Mexican women artists. Maria Novaro, Elena Garro, Frida Kahlo and Carmen Boullosa (Spanish text), PhD, THE FLORIDA STATE UNIVERSITY, 2000, 326 pages. This dissertation shows that Fantasy is powerful, liberating and therefore dangerous to those who fear change. In Mexico, romantic courtship and seduction drive women into submission and then, paradoxically, attribute to them an irrational inclination towards romance. Contemporary Mexican women artists present us with images in which women seemingly play the game of romance and seduction with the ulterior purpose of subverting it. … I follow the female protagonists as they escape the romantic trap through fabulations and (con)fabulations. …The Miraculous (Con)fabulation of Carmen Boullosa, examines Boullosa's novel La Milagrosa, (The Miraculous One) and her play Cocinar hombres (Cooking Men). For this writer, the obvious consequence of women's fabulatory and (con)fabulatory powers is the total separation of men and women, and perhaps an end to all heterosexual relationships, as they are the source of the romantic trap.

Demetrio Anzaldo-González, Género y ciudad en la novela mexicana (Spanish text, Carlos Fuentes, José Emilio Pacheco, Carmen Boullosa, Luis Zapata, José Joaquín Blanco). PhD, UNIVERSITY OF CALIFORNIA, IRVINE, 2001. … el segundo capítulo pone en evidencia la subordinación de la mujer dentro de los centros urbanos recreados en Duerme y Cielos de la Tierra de Carmen Boullosa. En su narrativa, a través de Claire y Lear, se perciben los espacios vacíos que desestabilizan a la ciudad de los hombres…

Ying Han, La Subjetividad Femenina En La Narrativa Femenina de Mexico y China (1980--1995) (Spanish text), PhD, STATE UNIVERSITY OF NEW YORK AT STONY BROOK, 2001. Since the eighties of last century, inspired by emerging world-wide feminist ideologies, increasing numbers of women writers in both Mexico and China began to write about their life experiences from their own perspectives. However, owing to different social, political and cultural backgrounds, especially the particular conditions for women in each country, these writers have shown different concerns and strategies in representing feminine subjectivities. In Mexico, where the primary concern is the domination of the system as much as the exploitation of their male counterparts, women writers have created characters who struggle for social identities, independence from family ties and traditional roles, and participation in the public sphere… Chapters One and Two present respectively the feminist movements of each country and the salient characteristics of women's writings. Chapter Three, focusing on two adolescent characters form Antes of Carmen Boullosa and La luz de los últimos días of Xu Xiaobin, illustrates women's psychological journey through a patriarchal world.

Emily Ann Hind, After Ours: Six Mexican Women Writers On Borrowed Time (Elena Garro, Rosario Castellanos, Silvia Molina, Ana Clavel, Carmen Boullosa, Sabina Berman), PhD, UNIVERSITY OF VIRGINIA, 2001. This dissertation examines innovative historical literature by Elena Garro, Rosario Castellanos, Silvia Molina, Carmen Boullosa, Sabina Berman, and Ana Clavel. Each author employs a unique approach to incorporate historical references in texts that also explore women's roles and twentieth-century Mexico. … Knowledge of the past proves more effective in Boullosa's Cielos de la Tierra, as life in literature rescues historically conscious characters from apocalypse. … these texts experiment with women protagonists who attempt the roles of writer and historia…

Myriam Osorio, Agencia femenina, agencia narrativa, PhD, UNIVERSITY OF WISCONSIN - MADISON, 2000, 280 pages. 9972791

Alicia Rico, Sociedades en transicion: La novela fantastica escrita por mexicanas y españolas en la decada de los ochenta, PhD, UNIVERSITY OF KANSAS, 2000 . Muchos son los cambios ocurridos en las sociedades española y mexicana a partir de la década de los ochenta. Entre ellos el afianzamiento de una voz que se oye cada vez con más fuerza proveniente del sector femenino de la población. Las escritoras de ambos países se hacen eco de las exigencias compartidas para denunciar la perpetuación de sistemas obsoletos que no se adecúan a las necesidades de los tiempos. Las autoras incluidas en este estudio incorporan elementos fantásticos para crear una realidad distinta a la aceptada y plantear la diversidad. Independientemente de la nacionalidad de las creadoras, todas las novelas presentan la urgencia de redefinir la sociedad para abarcar a todos los individuos que la conforman. … En el segundo capítulo se analiza la novela Antes (1989) de Carmen Boullosa. Esta novela gira en torno a la infancia de la protagonista muerta y cómo sus reflexiones desde el más allá modifican su concepción de su familia.

Jeanne Marie Vaughn, The Latin American Subject Of Feminism: Unraveling The Threads Of Sexuality, Nationality, And Femaleness, PhD, UNIVERSITY OF CALIFORNIA, SANTA CRUZ, 1999. This dissertation traces the constructions of traditional femininity in the context of contemporary Latin America and explores the problematization, deconstruction, and eventual renegotiation of those constructions by contemporary women writers in Mexico, Latin America, and the Caribbean... I argue that contemporary Latin American women's writing has an overarching concern with what it means to be a female subject, both in the psychoanalytic and social sense of the term. The first chapter explores attempts to formulate a Latin American female subject within three distinct moments in contemporary women's writing, and it involves novels from three different literary movements, La última niebla (1935), María Luisa Bombal; Los recuerdos del provenir (1963), Elena Garro; Antes (1989), Carmen Boullosa. … Each of the texts that I examine breaks ground or in some way advances feminist arguments.

Carrie Christine Chorba, Metaphors Of A Mestizo Mexico: New Narrative Rewritings Of The Conquest, PhD, BROWN UNIVERSITY, 1998. This dissertation is a thematic analysis of the literary works of three Mexican authors which rewrite the sixteenth-century conquest in order to explore the beginnings of Mexican mestizaje in all its metaphorical manifestations. … . The textual analysis of Ignacio Solares's Nen, la inutil (1994), Carlos Fuentes's 'Las dos orillas' from El naranjo, o los circulos del tiempo (1993) and Carmen Boullosa's Llanto: novelas imposibles (1989) argues that the sixteenth-century conquest continues to provoke thought and debate about some of Mexico's most problematic constructions of its national identity… Each writer employs a markedly different narrative strategy to represent the beginnings of modern mexicanidad. Solares attempts a de-traumatization of the inception of mestizaje, Fuentes valorizes Mexico's Hispanic cultural roots, and Boullosa questions Mexico's mestizo identity through an epistemological analysis of conquest historiography.

Carrie Chorba, The Actualization of a Distant Past: Carmen Boullosa's Historiographic Metafiction, Master of Arts, BROWN UNIVERSITY, 1993.

Ina Cumpiano, Hazardous Mat(T)Ers: Metonymy And The Fantasy Of Maternal Origins In Latin American Literature, PHD, UNIVERSITY OF CALIFORNIA, SANTA CRUZ, 1996 … Works by Jorge Isaacs, Gabriela Mistral, Alejo Carpentier, Luis Pales Matos, Carmen Boullosa and others serve to demonstrate how the maternal is figurated metonymically and its loss is displaced and reenacted as loss of country, loss of other love objects, or castration. In order to examine the works and the workings of metonymy in a metonymic fashion and in order to avoid falling into the metaphoric fallacy that privileges singularity, this study allows for the play of heterogeneous materials in its format: considerations of the art of translation, of non-Latin American material, multiple columns, boxed citations, and examples that, while linked through particular associations, fall outside of a strict understanding of its purposes.

Yolanda Flores, The drama of gender: feminist theater by women of the Americas (Assuncao, Leilah, Brazil, Lopez, Josefina, latina, Torres Molina, Susana, Argentina, Boullosa, Carmen, Mexico, women writers), PHD, CORNELL UNIVERSITY, 1995. … A historical investigation of Latin American women's involvement with the public sphere and of their access to interpretative power leads to a consideration of the nature of the dramatic genre in relation to women. A survey of the field of dramatic criticism and theories precedes a discussion of cultural politics. The plays examined--Lua nua by Leilah Assuncao (Brazil, 1987), Simply Mariia or the American Dream, by Josefina Lopez (U.S. Latina, 1988), ... Y a otra cosa mariposa, by Susana Torres Molina (Argentina, 1981), and Cocinar hombres by Carmen Boullosa (Mexico, 1987)--all exhibit a desire to deconstruct patriarchal notions of gendered roles and behavior, of compulsory heterosexuality, and of dramatic forms.

Choucino Ana Gloria Fernández, Radicalizar e interrogar los limites: poesía mexicana, 1970-1990. PHD, UNIVERSITY OF KANSAS, 1994. Some important trends in Mexican poetry of the 70's and 80's interrogate the romantic and modern tradition. Chapter one explains how the new poets are subverting traditional literary models. This causes intertextual play, allowing the reader to participate in the creation of the new text. Elva Macias, Carmen Boullosa, Vicente Quirarte y Gerardo Deniz use irony to subvert conventional texts.

Teresa Chapa, Contemporary Mexican Poetry: 'La Generacion Del Desengaño' (Bracho Coral, Boullosa Carmen, Castillo Ricardo, Blanco Alberto), PHD, UNIVERSITY OF KANSAS, 1992 The Mexican poets born in the 1950s have added a new dimension to Mexico's rich poetic tradition. Their innovative use of language and their creation of strong and defiant speakers challenge both poetic and social conventions. Although each poet's defiant stance is unique, they all share common characteristics. All of these poets communicate social themes in an original manner by developing new ways of using language and perspective, extending beyond earlier Mexican social poetry. The work of the four poets included in this study, Coral Bracho, Carmen Boullosa, Ricardo Castillo and Alberto Blanco, exemplifies the different tendencies found among 'la generacion del desengaño.' Each of these poets, in his or her own way, has found a unique and subversive form of poetic expression… Carmen Boullosa's rebellious and forthright speakers intentionally undermine both social and poetic conventions as they search for their identity as women in a male-dominated world…

Roselyn Constantino, Resistant Creativity: Interpretative Strategies And Gender Representation In Contemporary Women's Writing In Mexico (Castellanos Rosario, Berman Sabina, Boullosa Carmen), PHD, ARIZONA STATE UNIVERSITY, 1992. This study focuses on the efforts of three contemporary Mexican women writers--Rosario Castellanos (1925-1974), Sabina Berman (1951-), and Carmen Boullosa (1954-)--to create spaces of resistance to the hierarchichal, patriarchal structures of Mexican society. ... Foregrounding the representation of gender, their literary production forms part of a broader project of both male and female writers and intellectuals in Mexico to open up the traditional social structures and the systems of cultural production. In this process, a variety of discourses including politics, economics, religion, 'official' history, consumerism, and mass media, are signaled as directly or indirectly impinging upon the individual's self-identity and intimate relationships. Alternative perspectives of the perception and positioning of individual social subjects--especially women--within a Mexican society in transition are formulated. … Boullosa's theater and fiction create worlds full of fantasy, mixing 'high' and popular cultural forms in a self-reflective parodic style, and a feminist political aesthetization of traditionally nonliterary themes. These discursive strategies have given this group of writers tools for a rewriting of Mexican sociocultural context and history, and for a renewal of current Mexican cultural production.

Virginia Ellen Bell, Narratives Of Treason: Postnational Historiographic Tactics And Late Twentieth-Century Fiction In The Americas, PhD, UNIVERSITY OF MARYLAND COLLEGE PARK, 1997. This dissertation argues that many late twentieth-century publications in the Americas constitute postnational historiographic fiction. Postnational narratives challenge the authority of existing nations and experiment with historiographic form; they are narratives of treason… Chapter four compares Margaret Atwood's The Handmaid's Tale and Carmen Boullosa's Duerme/ (Sleeping Beauty) to discourse that produces a critical assessment of NAFTA. … My dissertation concludes with the suggestion that 'Literatures of the Americas' pay attention to works committed to cyclical narratives of change and conceptions of agency that defy the active/passive opposition.

Laura Estelle Pirott-Quintero, Hybrid Identities: The Embodiment Of Difference In Contemporary Latin American Narratives, PhD, BROWN UNIVERSITY, 1997. … explores three contemporary Latin American narratives whose central themes--the explorations of alterity, social heterogeneity and articulations of pluricultural identities--revolve around the corporeal figure. In all three texts--Moacyr Scliar's O centauro no jardim (Brazil 1980), Carmen Boullosa's Duerme (Mexico 1994) and Diamela Eltit's El cuarto mundo (Chile 1988) --the protagonists, who are also the narrators, are engaged in at least a two-fold narration. … The three narratives posit an interpretive tool with which to consider central issues related to identity-formation: the figure of the 'hybrid body.' … Duerme, O centauro no jardim and El cuarto mundo address and participate in the Latin American 'postmodern' cultural climate by underscoring the importance of difference and alterity. In this regard, the texts are shaped by a democratizing impulse which deploys strategies of contestation in order to destabilize discourses of exclusion, and to expose homogenizing logics of power.

Maria Victoria Albornoz, El canibalismo como metafora de incorporacion y traduccion cultural: Perspectivas desde hispanoamerica (Spanish text, Jose Eustasio Rivera, Colombia, Mario Vargas Llosa, Peru, Juan Jose Saer, Argentina, Carmen Boullosa, Mexico, Ruth Behar), PhD, WASHINGTON UNIVERSITY, 2004, 284 pages, AAT 3139821

Julie Lynn Hempel, Faces, bodies, and spaces: Differential identity construction in Mexicana and Chicana narrative, PhD, UNIVERSITY OF MICHIGAN, 2004, pp. 238. Examines the intersections and imbrication of race, ethnicity, class, gender, and sexuality in the narrative of five Mexican women writers and two Chicana writers. The aim of this border approach is to problematize manifestations of difference in Mexican society through compilation and analysis of writers', characters', and readers' voices. I have chosen works by five contemporary Mexican women writers (Guadalupe Loaeza, Ethel Krauze, Rosamaría Roffiel, Carmen Boullosa, and Sylvia Molina) and two Chicanas (Erlinda Gonzales-Berry and Sandra Cisneros) who examine simultaneously class, ethnicity, gender, and, at times, sexual preference. These narrative works offer a border reading that problematizes difference, subjectivity, and social spaces. The analysis of these pluralistic subjectivities, and the literary mechanisms used to create and frame them, form the core of this dissertation, one from which I cast a more transformative critical tool to be used in understanding the inherently multiple and heterogeneous identity of the postmodern subject. The theoretical underpinnings of this study are those which grapple with the interweaving of gender, class, and ethnicity in the creation of identity. Such a notion is grounded in the concept of the “rhizome,” as conceived by Gilles Deleuze and Félix Guattari, and strives to reflect the complexity of the connections and negotiations between multiple elements of subjectivity and different subjects. Yet, beyond this general framework, the theories which inform the textual analysis of this study further contribute to a transnational dialogue between Latin America, the U.S., and Europe. Concepts of masking and face developed by Rosario Castellanos and Octavio Paz are juxtaposed with those posited by Mikhail Bakhtin and Gloria Anzaldúa. Severo Sarduy's writings on the body dialogue with those by Judith Butler and José Esteban Muñoz. And finally, Jessica Benjamin's and Setha Low's ideas of space converse with those of Gloria Anzalúa and Pat Mora. By means of an integration of literary and audience analysis, this study attempts to elicit a theoretical model uniquely capable of evoking a broader and more complex view of subjectivity than has been attempted in studies to date, thus contributing potentially groundbreaking research to a fecund yet relatively unexamined literary corpus.

Priska M.Ballmaier, Von der Möglichkeit, ICH zu sagen, Lebensentwürfe im Werk mexikanischer Autorinnen, Wissenschaftsverlag Dr. Josef Kovac, Hamburg, 2001, 274 pqges. ISBN, 3-8300-0371-4

Kseniya A. Vinarov, La novela detectivesca posmoderna de metaficcion: Cuatro ejemplos mexicanos (Spanish text, David Toscana, Luis Arturo Ramos, Carmen Boullosa, Jorge Volpi), PhD, UNIVERSITY OF CALIFORNIA, RIVERSIDE, 2005, 198 pages. 3179410

Jessica Burke, Bodies in Transition: Identity and the Writing Process in the Narrative of Carmen Boullosa, PhD, Princeton, 2005.

Maria G. Akrabova, Sheherazada en el espejo: Una aproximacion a lo fantástico femenino (Spanish text, Isabel Allende, Chile, Carmen Boullosa, Mexico, Almudena Grandes, Cristina Fernandez Cubas, Spain), PhD, THE UNIVERSITY OF KANSAS, 2004, 248 pages. 3148862

Valerie Zukin, El cuerpo, el traje y el liquido vital: el juego de la construccion de genero en la narrativa femenina. BA, Haverford College, 2002. In analyzing the works: Desenganos amorosos, by Maria de Zayas ; Cola de lagartija, by Luisa Valenzuela ; and Duerme, by Carmen Boullosa, I demonstrate the gender narrative game. The three authors use the body, disguises and blood to build an interpretation of gender as social construction that challenges both postmodern interpretation and radical feminism. The authors find an equilibrium between the total deconstruction of gender and the importance of its construction for society.

Maria Sol Colina Trujillo, Nation and narration: Feminine identity reconstruction in Angeles Mastretta (Spanish text, Laura Esquivel and Carmen Boullosa), PhD
UNIVERSITY OF MISSOURI - COLUMBIA, 2003, 142 pages. 3099615

Juli Ann Kroll, 'Vampires without appetites': Monstrous embodiments of gender, sexuality, and nation in the texts of Carmen Boullosa (Mexico), PhD, UNIVERSITY OF MINNESOTA, 2003, 373 pages. 3098606

Stephanie Leigh Vague, A life of one's own: Mexican fictions of female development (Carmen Boullosa, Angeles Mastretta, Maria Luisa Puga), PhD, THE UNIVERSITY OF IOWA, 2003, 211 pages. 3114403

Catalina Avina, The demythification of traditional female roles in Carmen Boullosa, PhD

Ramon Trejo Tellez, Desestilizacion del sujeto en la narrativa mexicana contemporanea: Un acercamiento centrifugo-centripeta (Spanish text, Carmen Boullosa, Maria Luisa Puga, Barbara Jacobs), PhD, THE UNIVERSITY OF TEXAS AT AUSTIN, 2005, 161 pages. 3185981

Susan Rita Wehling, Feminist discourse in Latin American women playwrights (Rosario Castellanos, Carmen Boullosa, Beatriz Mosquera, Isidora Aguirre, Mexico, Argentina, Chile), PhD, UNIVERSITY OF CINCINNATI, 1992, 290 pages. 9232394

Stephanie Kirk

Susanna Regazzoni, Carmen Boullosa: de la poesía al Bildungsroman, UNIVERSITÁ CA'FOSCARI VENEZIA, Tesi di Laurea, 2002-2003.

Erika Mueller, Kueste und Text. Das 'Empire' schreibt zurueck: Die Antwort der Calibane auf Kolonialismus und Moderne (Coast and Text: The 'Empire' writes back. Caliban´s response to colonialism and modernity), UNIVERSITAET WIEN, Dr. phil., 2002 (deutsch). The purpose of this thesis is the analysis of the presence of colonialism and modernity in 20 th century Latinamerican and Caribbean (French, Spanish) island- literatures. I am applying the term colonialism not only in Edward Saids sense as specific form of exploitation and as consequence of European expansion, but also in a metaphorical way: as the occupation and colonisation of body, mind, the woman, nature, the Other by means of different discourses of European modernity such as science, technology and nation. The authors to be analysed are Adolfo Bioy Casares (Argentina), Carmen Boullosa (Mexico), Aimé Cesaire (Martinique), Laura Restrepo (Colombia), Abilio Estévez (Cuba), who choose to locate their narration on geographically existent islands. Through the islands as ideal space for colonisation, as not only a geographic reality but the symbol of colonialism, as ideal-space for occidental, white male desire and projection, the analysis shows the way colonialism is discussed in the "periphery". This interdisciplinary work is mainly focused on colonial and postcolonial discourse theory as well as on feminist theory and philosophy of science.

Huijulan Heinlein, Conjugarse en infinitivo -voz narrativa, identidad y memoria en las novelas de Carmen Boullosa, UNIVERSITÉ DE PARIS 3, SORBONNE NOUVELLE, Dir. M. le Prof. Claude Fell, 2000.

Ute Seydel, Narrar historia (s): la ficcionalización de temas históricos por las escritoras mexicanas Elena Garro, Rosa Beltrán y Carmen Boullosa, PhD, UNIV. POSTDAM, Germany, 2004.

David Buyze, The Aftertastes of Colonialism: Latin Americanism and Cultural Meaning, Supervisor: Rosa Sarabia, PhD, UNIVERSITY OF TORONTO, 2005.


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