Beyond Essence: Performing Gender and Sexuality in Ena Lucía Portela's Cien Botellas En Una Pared

Karen S. Christian
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Abstract

AbstractSet against a backdrop of the chaotic, crumbling Cuban capital and the multiple crises of the Special Period, Ena Lucia Portela's 2002 novel Cien botellas en una pared portrays both consequences of economic collapse and the breakdown of traditional paradigms of gender and sexuality. In the text, the connection between biological sex and gender performance appears to be arbitrary; virtually all of the female characters are lesbians, while the male characters are either gay or emasculated heterosexuals. This essay argues that Portela's novel problematises the (hetero)sexist norms that have persisted in Cuban society, dismantling patriarchy in favour of a fluid, amorphous social structure in which power itself becomes ephemeral. While the image of La Habana presented in Cien botellas en una pared is far from utopian, the text nonetheless questions rigid hierarchies of gender and sexuality to a degree that is trailblazing in Cuban fiction of the Periodo especial.Keywords: Special Period, Cuban fiction, gender, sexuality, heterosexism, powerThe second half of the twentieth century in Cuba was marked by political, social, and economic transformations with wide-ranging consequences. The first of these transformations was initiated by the 1959 Revolution; the second, by the 1989 collapse of Cuba's principal trading partner, the Soviet Union. In one of his official proclamations, Fidel Castro named this crisis El periodo especial en tiempo de paz. The devastating implications of the Special Period for the Cuban economy - and the Cuban people - have been the subject of volumes of writing since the early 1990s. These publications, both scholarly and creative, include a significant body of literature devoted to the deterioration of Havana. Odette Casamayor Cisneros' 2004 essay on 'las ruinas habaneras' is exemplary of this focus on the decaying capital and the transformation of its social structure as a result of the crisis. Casamayor Cisneros asserts that in novels of the Periodo especial, the image of the city in ruins serves as a reflection of the social and ethical changes that began to permeate Cuban society (73). Likewise, in an essay on fiction produced by Cuban women writers during and immediately after the Periodo especial, Maria del Mar Lopez-Cabrales (2007) highlights the recurring portrayal of 'una Habana decadente y deprimente' and of characters 'que tratan de subsistir a diario con el estomago vacio... y buscando a diario con una jaba cualquier cosa para conseguir la alimentacion basica' (181).While such widespread shortages affected virtually all Cubans during the Periodo especial, Cuban women arguably bore the brunt of the catastrophic economic adjustments occurring in the 1990s. Economic restructuring caused many professional women to be redirected into part-time, temporary, low-paying service sector occupations with limited opportunities for mobility, and in general 'many of the gains women made in the labor force as a result of the Revolution have been severely eroded' (Toro-Morn et al. 2002: 33). Furthermore, it is debatable to what extent the increased entry into the labour force by Cuban women in the decades following the Revolution was paralleled by a shiftin societal attitudes and social structures. In 1975 the Family Code went into effect to replace pre-Revolutionary laws on marriage, divorce, adoption, and alimony; included were articles that stipulated that men and women should have equal roles in marriage, housework, and child-rearing. In addition, the code stated that within the family, men and women should support each other's pursuit of education and jobs. Researchers have shown, however, that such Revolutionary government mandates were insufficient to bring about true gender equality in the home. As historian Johanna Moya Fabregas (2010) affirms in 'The Cuban Woman's Revolutionary Experience: Patriarchal Culture and the State's Gender Ideology, 1950-1976', the Family Code was not supported by plans for enforcement, '[leaving] Cuba's patriarchal social structure largely unchanged. …
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超越本质:在Ena Lucía Portela的《Cien Botellas En Una Pared》中表演性别和性
【摘要】埃娜·露西娅·波特拉2002年出版的小说《女人和女人》以混乱、崩溃的古巴首都和特殊时期的多重危机为背景,描绘了经济崩溃的后果和传统性别和性范式的崩溃。在文中,生理性别和性别表现之间的联系似乎是武断的;几乎所有的女性角色都是女同性恋,而男性角色要么是同性恋,要么是被阉割的异性恋者。本文认为,波特拉的小说对古巴社会中持续存在的(异性恋)性别歧视规范提出了问题,拆除了父权制,支持一种流动的、无定形的社会结构,在这种结构中,权力本身变得短暂。虽然《Cien botellas en una pared》中呈现的哈瓦那的形象远非乌托邦式的,但文中对性别和性的严格等级制度提出了质疑,这种质疑在古巴特别时期的小说中是开创性的。关键词:特殊时期,古巴小说,性别,性,异性恋,权力20世纪下半叶,古巴的政治,社会和经济变革具有广泛的影响。第一次变革是由1959年的革命发起的;第二次是1989年古巴的主要贸易伙伴苏联解体。在他的一份官方声明中,菲德尔·卡斯特罗将这场危机命名为El periodo special en tiempo de paz。自1990年代初以来,特别时期对古巴经济和古巴人民的破坏性影响一直是大量著作的主题。这些学术性和创造性的出版物包括大量专门讨论哈瓦那恶化的文献。Odette Casamayor Cisneros在2004年发表的关于“las ruinas habaneras”的文章是这种关注衰败的资本和危机导致的社会结构转变的典范。Casamayor Cisneros断言,特别是在Periodo时期的小说中,城市废墟的形象反映了开始渗透古巴社会的社会和伦理变化(73)。同样,Maria del Mar Lopez-Cabrales(2007)在一篇关于古巴女作家在特别时期和之后创作的小说的文章中,强调了“哈瓦那的颓废和贫困”以及“que tratan de生计和diario el estomago vacio”的角色反复出现的描写。(181)“我有一份关于家庭生活和基本生活的备忘录”。虽然这种普遍的短缺在特别时期影响到几乎所有古巴人,但古巴妇女可以说在1990年代发生的灾难性经济调整中首当其冲。经济结构调整导致许多职业妇女被重新引导到兼职、临时、低薪的服务部门工作,流动机会有限,总的来说,“妇女在革命中获得的许多收益已经严重受到侵蚀”(Toro-Morn et al. 2002: 33)。此外,在革命后的几十年里,古巴妇女加入劳动大军的人数增加,在多大程度上与社会态度和社会结构的转变同时发生,这是有争议的。1975年,《家庭法》生效,取代了革命前关于婚姻、离婚、收养和赡养费的法律;其中包括规定男女在婚姻、家务和抚养子女方面应发挥平等作用的条款。此外,该准则指出,在家庭中,男女应相互支持对方追求教育和工作。然而,研究人员已经证明,这样的革命政府命令不足以在家庭中实现真正的性别平等。正如历史学家约翰娜·莫亚·法布雷加斯(2010)在《古巴妇女的革命经验:男权文化和国家性别意识形态,1950-1976》中所肯定的那样,《家庭法》没有得到执行计划的支持,“(使)古巴的男权社会结构基本上没有改变。”…
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