Bracelets removed the prosthetic moustache

This jesting is grounded in the homosocial relationship that exists between the two men; it is a kind of male bonding that objectifies, subordinates and excludes Sáenz as the sexualized object of the quip and of their masculine heterosexual desire. Eve Kosofsky Sedgwick (1985: 1) argues that emerging patterns in male tiffany bracelets relationships - in the context of mid-eighteenth to midnineteenth- century English novels - were closely tied to questions of class and must necessarily be understood in their relationship to women and to gender as a whole. She points out that 'in any male-dominated society, there is a special relationship between male homosocial (including homosexual) desire and the structures for maintaining and transmitting patriarchal power:


a relationship founded on an inherent and potentially active structural congruence' (25). Young, white, European male tiffany bracelets Jean-Baptiste Boussingault certainly had that kind of socially congruent relationship with Dr Niniano Ricardo Cheyne, a young Scottish doctor who became Bolívar's personal physician. The quip about Manuela's body space, the physical removal of her uniform and the symbolic removal of the masculine position of authority that it represents situates her as a subject outside this homosocial relationship and in a marginalized, feminine tiffany bracelets. In doing this, the narrator genders his subject as decisively feminine, regardless of the fact that this subject's dynamic manipulation of masculine and feminine spaces has blurred the male/female dichotomy that the narrator accepts as natural.


Boussingault concludes the scene, 'La coronela, a quien yo le tiffany bracelets quitado los mostachos, subió de nuevo a la silla sin dificultad y yendo al paso llegamos a Canoas' (1985: 111). The feminization of the term 'el coronel' into 'la coronela' (which Boussingault employs from this point on) completes the narrator's transgendering of his subject. He concedes her this military rank in light of her gender-bending manipulation of physical space: her body, military uniform, and equestrian manoeuvring. But he employs the term in its feminized form and recalls how he Tiffany Bracelets removed the prosthetic moustache (and its connotation of masculinity) from Manuela's face. Her body, which has been subjected to examination, jest, and now physical and symbolic alteration, has been marked by the narrator as unmistakeably feminine, regardless of the social space that she occupies in accord with her title, 'coronela'.

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