Rewriting Leda and the swanan ecofeminist analysis of Angela Carter’s "The Magic Toyshop" (1967), and Lorna Crozier’s “Forms of Innocence” (1985) and “The Swan Girl” (1995)

  1. Oró Piqueras, Maricel
  2. Mina Riera, Núria
Revista:
Ecozon@ [Ecozona]: European Journal of Literature, Culture and Environment

ISSN: 2171-9594

Año de publicación: 2018

Título del ejemplar: Mythology and ecocriticism: a natural encounter

Volumen: 9

Número: 2

Páginas: 106-121

Tipo: Artículo

DOI: 10.37536/ECOZONA.2018.9.2.2289 DIALNET GOOGLE SCHOLAR lock_opene_Buah editor

Otras publicaciones en: Ecozon@ [Ecozona]: European Journal of Literature, Culture and Environment

Resumen

Angela Carter (1940-1992) y Lorna Crozier (1948) son dos autoras contemporáneas cuyas obras se dedican, en parte, a problematizar constructos históricamente muy arraigados que infravaloran tanto la agencia de la mujer como de la naturaleza. La agenda de Carter y Crozier está estrechamente relacionada con los principios ecofeministas, que se basan en la interconexión de todos los seres vivos al mismo nivel, sin jerarquías. Este artículo pretende realizar un análisis comparativo de la reescritura por parte de Carter y Crozier del mito de Leda y el cisne en relación al mito original descrito por Ovidio en Las Metamorfosis (8 dC) así como el poema de W.B. Yeats “Leda and the Swan” (1928). En nuestro artículo, sostenemos que tanto las versiones del mito de Carter como las de Crozier no solo desafían la dominación patriarcal dando voz y empoderando a Leda, la joven protagonista en el mito. A su vez, este empoderamiento está estrechamente relacionado con la armonización de Leda con la naturaleza, puesto que, volviendo al mundo natural, las jóvenes Ledas en las obras de Carter y de Crozier aprenden a aceptar sus cuerpos adolescentes con el fin de llegar a ser mujeres liberadas de creencias socioculturales restrictivas. En ese sentido, los textos de Carter y Crozier subvierten el significado original de la figura del cisne, que adopta nuevas connotaciones, relacionadas con un sentido de comunidad con el mundo más que humano. Estas nuevas connotaciones cuestionan además la violencia extrema que Ovidio e Yeats atribuyen al cisne al presentarlo como Zeus disfrazado.

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Fuente de los datos: Dialnet