‘Travestido, Transformado, Definitivamente Distinto’? Transgenericidad and Gender Trouble in Leonardo Padura's Máscaras

Languages and Cultures

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https://doi.org/10.1111/blar.12667
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Keywords

Cuba, detective fiction, Hombre Nuevo, iconoclasm, postmodernism, transgenericidad

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‘Travestido, Transformado, Definitivamente Distinto’? Transgenericidad and Gender Trouble in Leonardo Padura's Máscaras. / Peate, Ailsa.
In: Bulletin of Latin American Research, Vol. 37, No. 4, 09.2018, p. 449-463.

Research output: Contribution to Journal/Magazine › Journal article › peer-review

Bibtex

@article{5e4f6a0985ee46c8bf787bf77fddcfc3,

title = "{\textquoteleft}Travestido, Transformado, Definitivamente Distinto{\textquoteright}? Transgenericidad and Gender Trouble in Leonardo Padura's M{\'a}scaras",

abstract = "This article considers how M{\'a}scaras (1995), the third novel in Cuban author Leonardo Padura's post‐Soviet detective fiction series Las cuatro estaciones, transforms the genre. This article argues that at once using and subverting US tenets of noir, the author successfully transfigures archetypes of form and content, in particular commenting on the figure of the Hombre Nuevo. The article discusses M{\'a}scaras as an example of a trans‐genre/transgenericidad: the novel demonstrates how postmodern symptoms such as self‐awareness and metanarrativity, deviant from the archetypal crime genre, reinforce and inform notions of fluid and performative representations of bodies and sexualities in Cuba.",

keywords = "Cuba, detective fiction, Hombre Nuevo, iconoclasm, postmodernism, transgenericidad",

author = "Ailsa Peate",

year = "2018",

month = sep,

doi = "10.1111/blar.12667",

language = "English",

volume = "37",

pages = "449--463",

journal = "Bulletin of Latin American Research",

issn = "0261-3050",

publisher = "Wiley-Blackwell",

number = "4",

}

RIS

TY - JOUR

T1 - ‘Travestido, Transformado, Definitivamente Distinto’? Transgenericidad and Gender Trouble in Leonardo Padura's Máscaras

AU - Peate, Ailsa

PY - 2018/9

Y1 - 2018/9

N2 - This article considers how Máscaras (1995), the third novel in Cuban author Leonardo Padura's post‐Soviet detective fiction series Las cuatro estaciones, transforms the genre. This article argues that at once using and subverting US tenets of noir, the author successfully transfigures archetypes of form and content, in particular commenting on the figure of the Hombre Nuevo. The article discusses Máscaras as an example of a trans‐genre/transgenericidad: the novel demonstrates how postmodern symptoms such as self‐awareness and metanarrativity, deviant from the archetypal crime genre, reinforce and inform notions of fluid and performative representations of bodies and sexualities in Cuba.

AB - This article considers how Máscaras (1995), the third novel in Cuban author Leonardo Padura's post‐Soviet detective fiction series Las cuatro estaciones, transforms the genre. This article argues that at once using and subverting US tenets of noir, the author successfully transfigures archetypes of form and content, in particular commenting on the figure of the Hombre Nuevo. The article discusses Máscaras as an example of a trans‐genre/transgenericidad: the novel demonstrates how postmodern symptoms such as self‐awareness and metanarrativity, deviant from the archetypal crime genre, reinforce and inform notions of fluid and performative representations of bodies and sexualities in Cuba.

KW - Cuba

KW - detective fiction

KW - Hombre Nuevo

KW - iconoclasm

KW - postmodernism

KW - transgenericidad

U2 - 10.1111/blar.12667

DO - 10.1111/blar.12667

M3 - Journal article

VL - 37

SP - 449

EP - 463

JO - Bulletin of Latin American Research

JF - Bulletin of Latin American Research

SN - 0261-3050

IS - 4

ER -

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