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La Muñeca Menor (The Youngest Doll)
[edit]A short story told in third person narrative, is part of a larger group of published work in her book of short stories, "Papeles de Pandora". This is one of the most famous of her short stories, Ferré managed to produce this work in both Spanish and English, originally published in Spanish in 1972 in the journal Zona de carga y descarga; the journal in which the story was initially published was created by Ferré and her cousin Olga Nolla. Before Ferré translated this short story, it was translated by US translator Gregory Rabassain in 1980, yet his translation did not meet Ferré's vision of the work. Ferré worked to retranslate it with her friend, Diana Vélez, this work of theirs was published in 1991. With the multiple translations of this short story, it separated her from other Latin American writers who primarily wrote their work in Spanish .[1]
Plot
[edit]This is not a full plot summary, there is already one on the wiki page. These are just some points which I need to include within the summary.
- The nieces and the aunt were very close, so much as she brought them up as if they were her daughters.
- Whenever the nieces were around the aunt, they would try to lift up her skirt slightly because the wound in which the river prawn was nested gave off a sweet smell.
- When the aunt first started making the dolls they were made of basic materials, eventually leading up to porcelain and finer materials. The dolls were sized up to the daughters, heights and measurements were similar.
- The glass eyes that were to be put into the doll were always submerged into the river so that they "recognized the slightest stirring of the prawns antennae"
- Over the years the doctor becomes a millionaire, thanks to his wife, for his clients see him just so that they could see the last of the sugarcane aristocracy.
We can see the similarity through the youngest niece and how she is a representation of the aunt who has been transformed into a separate identity which is the doll.[2]
Significance
[edit]For many Puerto Rican authors, they wrote in Spanish as a way to stay connected to their heritage. For Ferré she began to write most of her work, primarily in English from 1995, this is after over two decades of writing most of her work in Spanish.[3] Among other differences of writers during this time, Ferré focused on undermining the "classist, racist and sexist underpinnings" in regard to those who were part of the elite in Puerto Rico, aiming towards the base of feminism and the females sexuality. [4] Countering the ideals which had been embedded into her society of the time was a way in which she showed her feminist outlook on situations. This follows with the journal she created with her cousin Olga Nolla, Zona de carga y descarga, this journal dealt with issues revolving around "identity, marginality, independence, class, ethnicity, feminism, gender and nation" [5] Not only did the journal signify what was going on in Puerto Rico at the time, but the influence the story had on each issue. There is also a given metaphor for the conflicts among classes, specifically between the gentry and businessmen, that was occurring during the time when it was written.[6] With knowledge of what was occuring within Puerto Rico at the time, the work in itself was a fictional reimaging of what could be expected within conflict.
Chágara
[edit]Does the information on page already need any additional information?
Theme (If I'm able to find enough information I will put this in final edit)
[edit]Feminism
[edit]
It is important to note Ferré's idea of how masculine and feminine writing have the possibility of showing similar aspects when it comes to the themes within the story, specifically noting how she perceived the feminine viewpoint as being "subversive and daring".[7] This specific to the ways in which society has come to view dolls as being nothing but innocent, yet within this story they are portrayed differently, this is the result of male writers suppressing womens roles within society.[8] The story in itself changes the way in which the traditional woman may be fetished, it gives the story its own power to counteract how women are objectified within the arts. [9]
- ^ Universidad Nacional de La Plata; Spoturno, María Laura (2018). "Self-retranslation as a rite of passage: Rosario Ferré's English version of "La muñeca menor"". Mutatis Mutandis. Revista Latinoamericana de Traducción. 11 (2): 359. doi:10.17533/udea.mut.v11n2a04.
- ^ Bilbija, Ksenija (1994). "Rosario Ferre's "The Youngest Doll": On Women, Dolls, Golems and Cyborgs". Callaloo. 17 (3): 885. doi:10.2307/2931871.
- ^ Negrón-Muntaner, Frances (2012-04-01). "Sin Pelos En la Lengua: Rosario Ferré's Last Interview". Centro Journal. 24 (1): 154.
- ^ Negrón-Muntaner, Frances (2012). "Sin Pelos En la Lengua: Rosario Ferré's Last Interview". Centro Journal: 157.
- ^ Universidad Nacional de La Plata; Spoturno, María Laura (2018). "Self-retranslation as a rite of passage: Rosario Ferré's English version of "La muñeca menor"". Mutatis Mutandis. Revista Latinoamericana de Traducción. 11 (2): 359. doi:10.17533/udea.mut.v11n2a04.
- ^ Sola, Maria (1994). "Show and Tell The Difference: Women Narrators in Contemporary Puerto Rico" (PDF). Julian Samora Research Institute: 5.
- ^ Universidad Nacional de La Plata; Spoturno, María Laura (2018). "Self-retranslation as a rite of passage: Rosario Ferré's English version of "La muñeca menor"". Mutatis Mutandis. Revista Latinoamericana de Traducción. 11 (2): 369. doi:10.17533/udea.mut.v11n2a04.
- ^ Bilbija, Ksenija (22/1994). "Rosario Ferre's "The Youngest Doll": On Women, Dolls, Golems and Cyborgs". Callaloo. 17 (3): 878. doi:10.2307/2931871.
{{cite journal}}: Check date values in:|date=(help) - ^ Scoular, B. T. (2008-09-14). "Over Our Dead Bodies: Emilia Pardo Bazan, Rosario Ferre, and the Feminine Fantastic". Forum for Modern Language Studies. 44 (4): 452. doi:10.1093/fmls/cqn058. ISSN 0015-8518.