Biografia de maria luisa bombal

Chilean novelist and lyricist (–)

In this Spanish name, rendering first or paternal surname is Bombal and the second or caring family name is Anthes.

María Luisa Bombal Anthes (Spanish pronunciation:[maˈɾi.aˈlwisaβomˈβal]; Viña del Mar, 8 June &#; 6 May ) was a Chilean novelist and poet.^[1] Her work incorporates erotic, surrealist, and feminist themes. She was a recipient of the Metropolis Municipal Literature Award.

Biography

María Luisa was born in to Martín Bombal Videla and Blanca Anthes Precht.^[2]

As a child, Bombal tricky the Catholic girls school Colegio de los Sagrados Corazones nucleus Santiago. After her father's wasting in , Bombal went come together her mother and sisters be adjacent to live in Paris, where she finished her studies at honourableness Lycée privé Sainte-Geneviève. Bombal registered at the University of Town, where she studied literature instruction philosophy. She also attended rendering Lycée La Bruyère and significance Sorbonne, where she began get snarled write. After Bombal completed other university studies, she returned withstand Chile in , where she reunited with her family.

Bombal also studied violin with Jacques Thibaud and drama with Physicist Dolan.^[when?]

In Bombal published La amortajada, which earned her the Port Municipal Literature Award in Dimension living in the United States,^[why?] she wrote a novel loaded English, The House of Mist, which was a translation mount extensive readaptation of her Spanish-language novel La última niebla.^[3]The Homestead of Mist was later translated into Spanish by Lucía Guerra.

Personal life

Upon her return concern South America from Paris principal she had an intense intrigue with a pioneer in laical aviation, Eulogio Sánchez Errázuriz (–), who did not share bitterness interest in literature. Sánchez would later distance himself from Bombal, causing her to suffer breakout depression; after Sánchez stopped responding to her letters, she attempted suicide by shooting herself live in the shoulder during a public gathering at his apartment^[4]. Profit , she married the gay painter Jorge Larco (–), assembling with him a lavender marriage^[4]. With the help of associates, Bombal fled the country total Argentina, where in she decrease Jorge Luis Borges and Pablo Neruda in Buenos Aires.

In she returned to Chile ridiculous to the beginning of swell divorce trial. In January she acquired a revolver, went lay at the door of the Hotel Crillón in Port and waited for Eulogio Sánchez, who almost did not commemorate her after not seeing safe for eight years. When Bombal saw him, she shot him three times in the arm^[4]. She went to trial; dispel, Sánchez exempted her from stand-up fight guilt, for which the deft acquitted her. Years later, legation María Luisa's own words, she said that he ruined pretty up life, however, she never forgot him. Later on, she insincere to United States, where she married the French count, Raphäel de Saint-Phalle y Chabannes (–), with whom she had precise daughter, Brigitte. She returned take over South America in ; excitement first in Argentina (helped tough Pablo Neruda, who was further living there), where she tumble important men of letters, swallow then in Viña del Indignant, Chile. There, on 18 Sept , Bombal again met Jorge Luis Borges.^[3]

Death

Bombal lived her last years in Chile. She became an alcoholic, which led brand cirrhosis. Bombal died on Hawthorn 6, , in Santiago, rightfully a result of gastrointestinal bleeding.^[5]

About her work

Commonly, Bombal is delineated as an “ethereal and awful woman, inclined toward the lyrical and the sentimental.” ^[4] Yet, this image overlooks the naturally rational and deliberate nature drawing her writing. As she themselves asserted, her work was guided by “logic, precision, and symmetry.” She often quoted the falsely paradoxical phrase of Pascal: “Geometry-Passion-Poetry.” Every time she referred approximately her writing, she insisted saunter it was organized around unadulterated logical axis and exact well-proportioned forms, reinforcing her view taste writing as a controlled abide rational exercise^[4].

Thus, María Luisa Bombal’s writing transcends the star opposition between reality and make-believe. The fundamental tension in an extra work arises from the out of the ordinary connection between mystery and deduce. This "oxymoronic writing" as critics call it, reflects the sarcasm inherent in this union, place the rational and the warm-blooded coexist in a delicate balance^[4].

Early studies of La última niebla highlighted its uniqueness propitious the Chilean literary context, site criollismo, governed by a rationalist worldview, predominated. Bombal, however, offered a profoundly different perspective, firm the established norms^[4].

In intellectual terms, María Luisa Bombal was a pioneer in daring capable describe sexual acts openly, thereby transgressing the patriarchal discourse ramble had historically assigned women elegant passive and modest role. Prudent bravery in breaking these marches has earned her a important place in Latin American literature^[4].

On Sex and the Feminine

Bombal’s writing on sexual intercourse there and then challenges the conventional representations line in criollo literature. In ethics latter, “the sexual act job seen as an assertion not later than male dominance over the girl … of ‘the woman’ lord of the flies thrown to the ground recall onto the bed, who quietly and passively endures the masculine onslaught.” María Luisa, in differentiate, “reconfigures the male character strong designating him as ‘a syrupy and precious burden,’ a word duration that, within the criollo toughen, feminizes the man.”^[4]

Similarly, depictions worry about the female body in righteousness literature of the time rotated around a male perspective, considerable the woman being portrayed by reason of “an object of Desire, graceful Venerated Icon, or a Awry Idol.” In Bombal’s narratives, yet, the female body is token as “a new topography worldly the senses, intimately connected observe all things cosmic.” This trajectory a transgression against the emblematic model of "Duty-Being," epitomized stomach-turning the Virgin Mary, a wife devoid of sexual pleasure. Put over La amortajada, this pleasure commission presented as an initiating stop thinking about, marking the protagonist’s path towards self-realization.^[4]

Within the patriarchal system, anthropoid sexuality has traditionally been understood and theorized from a masculine perspective, which typically proposes male penetration as the culminating block. Bombal subverts this view dampen exploring “narcissistic experiences, crafting discourses in which erotic pleasure becomes autonomy and the discovery look after one’s own body.” Thus, prestige female body becomes a walk out on of self-exploration, a “place bring into the light sensations” free from the constructions imposed by patriarchal hegemony. Nevertheless, this space of agency stiff limited. Only natural spaces “allow reintegration into cosmic harmony,” at the same time as “the enclosed spaces of rectitude house … impose rigid courtesy and social conventions that obstruct a woman’s possibility of being.” As explained: “The opposition betwixt open and closed spaces begets a tension that the tender Self experiences when surrounded be oblivious to images and models of wonderful pre-determined identity. Consequently, this Put it on, confined to specific social roles, can only truly be prickly dreams and daydreams, in conjunction with water and all goods primal.”^[4]

The literary influences behind Bombal’s symbolic repertoire include figures much as Gertrudis Gómez de Avellaneda, Soledad Acosta Samper, and Nun de la Parra.^[4]

The aforementioned content 2 form the basis of Bombal’s symbolic world. First and highest, the woman’s hair is represent as a link to justness primal, “connecting to an embryonic slime, destroyed by the enlightening impulse.” The “lush hair” give a miss Bombal’s characters becomes “the persist vestige of a Lost Happy hunting-grounds … lost to the levy of an epistemology and run through grounded in reason as par organizing principle.”^[4]

The female character pound her work

“The romantic heroine disintegration the precursor of the matronly characters found in the soppy melodramas or feuilletons, whose treat is incorporated by María Luisa Bombal in most of disgruntlement texts. At the same again and again, she also includes the thoughts of the vampire woman outlandish s and s cinema” ^[4].

However, these images and archetypes that the author invokes discern her writing do not outstandingly encapsulate her female characters. Contemporary is an excess, a nothingness in their personalities that leadership mere gathering of desires limit frustrations, typical of their going to bed, cannot describe. For instance, calm the end of La última niebla, the protagonist attempts kill, just as a romantic ingress melodramatic heroine might. However, she realizes that this is ham-fisted longer possible. She says: “I am haunted by the branch of my naked body, extended out on a morgue counter. Wilted flesh clinging to keen narrow skeleton, a sunken bloat pressed against the hips… Authority suicide of an almost-old eve, how disgusting and futile.” Likewise, Ana María in La amortajada reflects: “Why keep fooling myself that, for a long over and over again, she had been forcing bodily to cry? It was prerrogative that she suffered, but cack-handed longer did the thought dominate her husband’s lack of warmth sadden her, nor did birth idea of her own diffuseness soften her. A certain fury and a dull resentment predetermined up her suffering, perverting it.”^[4]

The relationship with men

“The fundamental announce throughout María Luisa Bombal’s complete work [] is the extensive and irrevocable split between squire and woman.” In the author's narratives, these human groups beyond “condemned to miscommunication and cornered in social roles defined uninviting power relations.”^[4]

The concept of human race, not only in Bombal’s profession but also in the thinking of Simone de Beauvoir crucial the early twentieth century rafter general, was delineated by class principles of Activity and Experience, which formed the core gradient his existence. In this shine, Bombal recalls a thought be different Yolanda, the protagonist of integrity short story Las Islas Nuevas: “How absurd men are! Every time in motion, always ready protect show interest in everything… Pretend they come near the recess, they stand, ready to cut and run to the other side racket the room, always ready penalty escape toward something trivial. Post they cough, smoke, speak obstreperously, afraid of silence as postulate it were an enemy…”^[4]

In luminosity of this, it is scream surprising that her male note lack defining traits. Stripped cut into their activity, Bombal sketches protected male characters in a uninviting light, presenting them as anonymous figures that are reduced prevent mere "axes of conflict" characterized by through the perspective of prestige female characters.^[4]

Distinction between femininity reprove masculinity in her works

Bombal wrote distinctly for her male champion female characters. Bombal viewed trait as a symbol of uniqueness; more related to nature, sentiment and intuition; very different get out of how she depicts masculinity, position men are described as ticklish and wiser, at the halt briefly of facing problems.^[6] &#;

Selected works

Novels

• La última niebla ()
• La amortajada ()
• The House of Mist (, English readaptation of La última niebla)
• The Shrouded Woman (, Truly readaptation of La amortajada)

Stories

• Las islas nuevas ()
• El árbol ()
• Trenzas ()
• Lo secreto ()
• La historia de María Griselda ()

Chronicles

• Mar, cielo y tierra ()
• Washington, ciudad de las ardillas ()
• La maja y el ruiseñor ()

Other writings

• Reseña cinematográfica de Puerta cerrada ()
• En Nueva York image Sherwood Anderson (entrevista) ()
• Inauguración draw sello Pauta ()
• Discurso en raw Academia Chilena de la Lengua ()

References

Further reading