Child’s Play, Imagination, and Precarious Innocence in Gloria Susana Esquivel’s Animales del fin del mundo.
This study examines Colombian author Gloria Susana Esquivel’s novel Animales del fin del mundo (2017). Narrated in first-person in the past tense, the novel follows seven-year-old Inés as she navigates an austere home life while also attempting to understand the urban violence that punctuates her af...
| Publicado en: | Revista de Estudios Hispánicos Vol. 58; no. 2; pp. 523 - 545 |
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| Formato: | Artículo |
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Washington University
jun2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=179717424&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 179717424 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 0034818X 2BR jtl: Revista de Estudios Hispánicos issn: 0034818X maglogo: N pubinfo: dt: jun2024 vid: 58 iid: 2 pid: 11468 pub: Washington University artinfo: ui: 179717424 10.1353/rvs.2024.a937023 ppf: 523 ppct: 22 formats: fmt: @attributes: type: P size: 3.6MB tig: atl: Child’s Play, Imagination, and Precarious Innocence in Gloria Susana Esquivel’s Animales del fin del mundo. aug: au: HUNT, MAI affil: Brown University. su: Civil war War Urban violence Granddaughters Prejudices sug: subj: Civil war War Urban violence Granddaughters Prejudices keyword: armed conflict childhood female identity Colombia conflicto armado Gloria Susana Esquivel identidad femenina niñez ab: This study examines Colombian author Gloria Susana Esquivel’s novel Animales del fin del mundo (2017). Narrated in first-person in the past tense, the novel follows seven-year-old Inés as she navigates an austere home life while also attempting to understand the urban violence that punctuates her affluent neighborhood amidst Colombia’s decades-long internal armed conflict. Caught in familial strife, yet unable to escape her home, Inés must keep to herself, often inventing imaginary friends and games to play in the absence of others. This study analyzes her invention of alter egos serving during child’s play as vehicles of self-discovery allowing her to play, converse, and find herself both literally and figuratively. Her relationship with child’s play, however, is complicated when Inés meets María, the housekeeper’s granddaughter. Though Inés initially idolizes María, admiration slowly turns to jealousy and rivalry, with their child’s play feeding Inés’s exploration of prejudice, greed, and pride. This study thus explores how Inés comes into her own voice as she begins to articulate expressions of class struggle and socioeconomic disparity between her and María through animal symbology, allowing Esquivel to push the boundaries of conventional notions of childhood innocence and female docility. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Revista de Estudios Hispánicos is the property of Washington University and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Revista de Estudios Hispánicos holder: Washington University dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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