The Fina Warschaver’s own home: on the margins of the avant-garde

Keywords:

Modern Literature, Avant garde, Fina Warschaver, Virginia Woolf, Feminism

Abstract

Aesthetics and politics were intrinsically linked during the emergence of the historical avant-gardes, but the discussion about their goals and interventions remains timely today. The intellectual field that emerged in forties and fifties Argentina, though following a moderate and seldom-disruptive version of the classic avant-garde (Sarlo 1997), did advance complex discussions on social realism and experimental forms linked more to modernism than to surrealism. In this period, Fina Warschaver (1910-1989), a writer with affiliations to Communist Party, published the controversial novel La casa Modesa (1949), which was ignored by critics due to its experimental form and its distance from the social realism promoted by communist ideology. This essay analyzes the strategies that Warschaver borrows from Virginia Woolf’s modernist approach to propose a new reading of the text that not only challenges mimesis and referential representation but also questions the naturalization of gender that limits feminine space to the domestic sphere, restricting the political action of women and censoring their artistic freedom.

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Author Biography

Carina Gonzalez, Universidad Nacional de San Martín / Consejo Nacional de Investigaciones Científicas y Técnicas

Carina González has a degree in Letters from the University of Buenos Aires and her doctorate from the University of Maryland. He has published articles on bilingualism, migrant writing, and exile in academic journals in the United States, Spain, Chile, and Argentina. She has edited Out of the Canon, eccentric writings of Latin America, Pittsburgh, Iberoamericana, 2014 and Peronism and representation, Buenos Aires, Final Abierto, 2015. Her current research is developed in the field of avant-garde and women's writing. He recently published, “Fantasies that return. The sinister in The Naked Woman (1950) by Armonía Somers ”in Kipus, No. 50, 2021, pp.8-29.mujer desnuda (1950) de Armonía Somers” en Kipus, Nro.50, 2021, pp.8-29.

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Published

2022-04-12

How to Cite

Gonzalez, C. (2022). The Fina Warschaver’s own home: on the margins of the avant-garde. Anclajes , 26(2), 49–66. Retrieved from https://cerac.unlpam.edu.ar/ojs/index.php/anclajes/article/view/6004