Ambigua: revista de Investigaciones sobre Género y Estudios Culturales es una publicación electrónica que aparece en forma de monográfico y aborda aquellos temas que se encuadran dentro de las investigaciones sobre el género y los estudios culturales desde una perspectiva interdisciplinar. El público al que va dirigida es de índole internacional, ya que acepta la publicación de artículos escritos en distintas lenguas de la Unión Europea (español, francés, inglés) y nacionales (catalán).


The library contains articles of Ambigua: revista de Investigaciones sobre Género y Estudios Culturales as of vol. 1(2014) to current.

Recent Submissions

  • Spaces: nature, power, and gender

    Pacheco Costa, Verónica; Marin-Conejo, Sergio; Vahí Serrano, Amalia (Seminario de Investigación de Género y Estudios Culturales, 2021-12-14)
    Presentation of the monograph
  • Gothic Noir Filmic Male Gaze: Gender Stereotyping in Margaret Atwood’s “The Freeze-Dried Groom”

    López Ramírez, Manuela (Seminario de Investigación de Género y Estudios Culturales, 2021-12-14)
    Stereotyping has been crucial in artistic representations, especially cinema, in the construction of gender paradigms. Males and females have been portrayed by means of simplified unrealistic clichés with the purpose of controlling and constraining them into patriarchal roles and conventions, promoting societal normative ideologies. Noir women are projections of male anxieties about female sexuality and female independence. In “The Freeze-Dried Groom,” Atwood unveils gender stereotyping through a typically film noir male gaze in three of its stock characters: the femme attrapée, the “detective” and the femme fatale. Hence, Atwood depicts a femme fatale to reflect not just on this character in film noir, but also on female identity, gender dynamics and feminism. She exposes and questions the marriage-family institution, and the patriarchal society as a whole.
  • Gender roles and identity in the Chicana/Latina Women in Loverboys by Ana Castillo

    Merino Aguilera, María de la O (Seminario de Investigación de Género y Estudios Culturales, 2021-12-14)
    Ana Castillo (Chicago, 1953) is the author of the short story collection Loverboys (1996). These stories address the reality of Chicana and Latina women in the U.S. from a plurality of social contexts. The purpose of this article is to analyse the stories in Loverboys from the perspective of gender roles and the concept of identity, as well as to present a brief initial observation on how female voices have been silenced throughout history. The hypothesis to be demonstrated is that, in these stories, Castillo defends, preserves, and seeks to restore the values of Chicana and Latina women, repeatedly reviled by the machismo of patriarchal society, through the female characters in the stories collected in Loverboys.
  • Thinking Pandemic with Donna Haraway. Review of Keeping up with the problem: Generating kinship in the the Chthulcene. (2019) Bilbao, Consonni.

    Dominguez, Barbara Yanina (Seminario de Investigación de Género y Estudios Culturales, 2021-12-14)
  • An approach to female dramatic writing in Argentina: the affirmation of a own view

    Díaz, Silvina (Seminario de Investigación de Género y Estudios Culturales, 2021-12-14)
    This article proposes an approximation of the dramatic writing produced by women in Argentina between the sixties and nineties in order to find out how a critical look is configured from gender, an autonomous female discourse. In view of this, we mean some paradigmatic playwrights -Griselda Gambaro, Aída Bortnik, Susana Torres Molina, Cristina Escofet and Diana Raznovich - who, from various poetics, aesthetic and ideological interests, contributed to the representation and self-representation of women as a plural subject, crossed and inhabited by a complexity of voices and personal, social, generic, cultural inscriptions. For the description and analysis of the most representative dramatic pieces in this regard we start from a historicalist perspective that takes into account both the social historical context and the dynamics of Argentine theatre. In the 1960s and 1970s, there was a notable limitation of women's presence in the national theatrical field, not only in terms of playwrights and directors, but also within theatrical management, critical reception and theatrical juries. Undoubtedly the convulsed political-social context hindered the emergence and the development of a theatre proper feminine until the advent of democracy, when they start to treat social facts taking into account the generic differences that go through them. Finally, we note that, directly addressing gender issues or mobilized by the urgencies of a society in crisis, with the intention of outshooting possible responses or simply raising questions, the authors we refer to seek to move away from stereotypes and archetypal models, to challenge narratives, to break the silent mandates imposed by dictatorships or patriarchal society.
  • Los límites de la vida rural: naturaleza y violencia

    Riera, Carla (Seminario de Investigación de Género y Estudios Culturales, 2021-12-13)
    Aquest article estudia la representació literària dels espais que envolten la llar analitzant l’ús d’imatges naturals vinculades en relació amb l’enclaustrament femení. En particular, s’investiga com esdevenen símbols dels valors atribuïts a la dona —des de la síntesi que en fa Elizabeth Grosz—, sobretot en relació amb la fecunditat. S’utilitzen nocions de Michel Foucault sobre el poder per analitzar com els mecanismes de control creen i gestionen aquests espais limítrofs. Per a il·lustrar-ho, s’examinen casos dels «drames rurals» de l’autora Víctor Català —relats breus en català publicats entre 1902 i 1930—, on l’alteració de certes imatges recurrents permet reflexionar sobre la gradació de violències que recauen en la dona. Es mostrarà com les tensions entre individus s’inscriuen en certs espais naturals que van des de l’hort fins al bosc.
  • A spatial and temporal journey: women under patriarchal and dictatorial power in 'Eni Furtado no ha dejado de correr' by Alicia Kozameh

    Lyu, Gaojie (Seminario de Investigación de Género y Estudios Culturales, 2021-12-14)
    Based on the spatial and temporal journey composed by Alicia kozame (Rosario, 1953) in her novel Eni Furtado no ha dejado de correr, this paperanalyzes the suffering and resistance of women who seek to achieve their own space within the patriarchal and dictatorial power. Throughout thisarticle, its purpose is to visualize the search for the literary space of the author herself; the spatial and temporal mobility of the two protagonists; thepain and trauma caused by patriarchal and dictatorial oppression; certain spaces as a representation of parental power, as well as the struggle of women in a violent environment. Eni Furtado no ha dejado de correr, which was published in 2013, is the sixth narrative work by the Argentine writer Alicia Kozameh. In this novel, through various points of view covering multiple perspectives, a central fact has been configured: the sexual abuseof a ten-year-old girl. Due to her own experience as a prisoner during the military dictatorship in Argentina, Alicia Kozameh dedicated herself towriting on issues related to prison and exile in her early works. This novel, in particular, is considered one of the very representative examples amonghis latest narrative novels, since it focuses on the private space of the family and the sexual abuse of minors; simultaneously, it incorporates another clueto express political violence and exile in an implicit way, thus establishing an analogy between dictatorial violence and the patriarchal oppressionsuffered by women. All of these have opened a broader vision to represent violence and trauma within Kozameh's literary universe. In short, throughthis work I hope to put forward a different point of view, which will contribute to the expansion of thinking on gender, space and power.
  • Antonella Cagnolati (ed.): Women and Children’s Literature. A Love Affair?, Peter Lang, 2021, pp. 178.

    Marín Conejo, Sergio (Seminario de Investigación de Género y Estudios Culturales, 2021-12-14)
  • Stéphanie Mateu, Intimisme et identité dans l’oeuvre picturale de Santiago Rusiñol i Prats, peintre catalan (1861-1931), Montpellier/Barcelona 2015.

    Marie-Vincent Ghislaine Ducatteau, Héloïse Elisabeth Marie-Vincent Ghislaine Ducatteau (Seminario de Investigación de Género y Estudios Culturales, 2021-12-14)
  • Pregnant witch: Patriarchal criminalization of the (non) maternal body in access to abortion in Argentina

    Rozanski, Noelia (Seminario de Investigación de Género y Estudios Culturales, 2021-12-14)
    The criminological discourse of the Inquisition condensed in the Malleus Maleficarum in the 15th century and heir to the practices of persecution and torture developed from the 12th century, made use of the image of the witch to be functional to sectors of power in its endeavor to annihilate and decimating entire populations and imprinting in the bodies ways of being and acting necessary for the development of an economic system that required an articulated and controlled model of production / reproduction: capitalism. The objective of this work is to analyze the patriarchal criminalization of the (non) maternal body in access to abortion in Argentina and the continuities of the demonological discourse of the 15th century from the case of Belén, a woman who between 2014 and 2017 was detained for 29 months by a spontaneous abortion. To approach the case, we will use the theoretical contributions of different feminist authors, and from there we will investigate how the punitive power of the State crosses the body with biopower technologies, prints ways of being, thinking and acting, imperatives and prohibitions, and demonizes with its patriarchal stamp the "cursed", subversive and infamous part of what in this work we have called "pregnant witch".
  • Childhood and didactic of gender identities in Béatrice Laure Mebou’s Plus sage que le roi

    Eyenga Onana , Pierre Suzanne (Seminario de Investigación de Género y Estudios Culturales, 2021-12-14)
    La narration écrite s'offre en Afrique comme un vecteur essentiel dans l'éducation holistique des masses à l'éthique. L'enfant joue parfois le rôle du sage enseignant, oeuvrant au renouvellement des identités de genre face au patriarcat qui prévaut. Quelles stratégies utilise-t-il pour postuler de nouvelles relations de genre ? La sociocritique de Pierre Barbéris guide cette réflexion qui s'organise en deux parties. Dans un premier temps, nous explorons l'explicite en questionnant la didactique qui sous-tend la démarche de l'enfant. Puis, grâce à l'implicite , nous examinons les esthétiques qui structurent la production de sens et fondons le discours sur le monde de Béatrice Laure Mebou. Key words: written storytelling, child, sociocritic, gender, aesthetics, ethics
  • Everyday borders: intersections of exclusion and resistance settings in a migration experience from South America

    Calderón García, Marina (Seminario de Investigación de Género y Estudios Culturales, 2021-12-14)
    The purpose of this paper is to reflect on everyday settings as generators of social exclusion in migrant contexts. At the same time on those experiences, migrant people create resistance strategies, develop agency and contribute to social transformations through individual and collective actions. International borders are able to sort legitimated or illegitimated people who have different access to citizenship rights. However, it is in everyday interaction where symbolic borders appear, hindering migrant integration. Even more evident for migrant women. We will expose Gladys’ experience as a case of migration from Peru to Spain to illustrate our argument. We will discuss about the social settings she is allowed to participate and how symbolic borders are generated and modify the relationships between people in those spaces. From an intersectional perspective, these boundaries collude to push migrant people, particularly women, towards social exclusion and isolation. But otherwise, they could lead to creating resistance and agentive action. Specifically, in Gladys’ case as a caregiver, her experience fluctuates between being considered expendable workforce and, at the same time, being a fundamental part of the economic and social system. This tension is solved through political activism and the reconfiguration of roles and practices. In this way, the case invites us to rethink privilege and power as dynamic processes and also to reflect on individual agency, but community agency as well, as a main engine of political and social transformation.
  • Space, power and feminist representation in theatrical practices of the Argentine Northwest region

    Rosenzvaig, Marina (Seminario de Investigación de Género y Estudios Culturales, 2021-12-14)
    In this article we propose to analyze three dimensions of descolonial feminist theatrical practices developed in the Argentine Northwest region, which occurred simultaneously between 2015 and 2020. Institutional management in Theatre, theatricalities of street and virtual demonstrations,and feminist theatre plays propose to dispute the spaces of power and action and discuss artistic and political representations while adding to gender agendas and demands. These theatrical practices intersect, feed off  each other and are promoted simultaneously at work and share protagonists. They are part of the massive mobilizations against thefemicides Ni Una Menos and the fight for legal, safe, and free abortion in Argentina.
  • Mujer Semilla in the re-signification of the identity of women in the city of Aguascalientes

    Recio Saucedo, Sergio Raúl (Seminario de Investigación de Género y Estudios Culturales, 2021-12-13)
    Street art is an artistic activity focused on the graphic intervention of the urban infrastructure of cities by transfiguring physical structures into expressive supports to show different ideas of a social, cultural or political nature. Sociopolitical interests turn street art into a contextual movement, since the participants are concerned about the problems of cities. This is the case of the Seed Woman collective in the town of Aguascalientes, who cares about the situations that women live in the hydro-warm society. The interest is materialized in the elaboration of pieces of paste up when representing the experiences that they have lived in the locality. The activities of Woman Seed were analyzed under the theoretical postulates of Judith Butler (2007) proposed within the book: The gender in dispute. Feminism and the subversion of identity. The author raises the possibility of constructing gender identity voluntarily through the repetition of acts. It is precisely the identity diversity that was observed in the paste-up pieces of the collective due to the search to graphically present options of women's identities on the infrastructure of the city, but, aimed at the hydro-warm society. It is concluded that the participation of Mujer Semilla is a symbolic act that aims to change people's frames of reference by showing them bodily identities, phrases and feelings associated with the daily life of women
  • Women´s madness: prison and subterfuge

    Bega Martinez, Renata (Seminario de Investigación de Género y Estudios Culturales, 2020-12-14)
    Madness as a suffering linked to women´s lives seems to manifest in the first instance as a historical and cultural continuity, a stage that all have gone through either for an instant or throughout their whole existence. To analyze the network of madness, violence, stigma and how they are presented transversely on women in a systematic and historical way becomes an essential but unreachable task in this article. What is specifically taken into account and questioned here is the notion and category of being crazy nowadays in western societies where violence(s), as a constant factor regardless its various expressions, fulfill(s) a fundamental role.
  • Pour un tragique féminin contemporain: intertextualité, intermédialité et performativité dans Génesis 6, 6-7 d’Angélica Liddell

    Chainais, Adeline; Deny, Aurélie (Seminario de Investigación de Género y Estudios Culturales, 2020-02-03)
    Este artículo propone un análisis de la tercera parte de la Trilogía del Infinito de Angélica Liddell, Génesis 6, 6-7, en relación con las cuestiones de género. Este espectáculo, además de haber sido creado por una mujer quien fundó su propia compañía y va triunfando en los escenarios internacionales, aborda temáticas propiamente femeninas como la maternidad a través del prisma de lo obsceno y del horror, particularmente por medio del tema del infanticidio, encarnado en la obra por la figura de Medea, y desarticula los códigos binarios que entran habitualmente en la configuración de las identidades femenina y masculina, por ejemplo a través del tratamiento del cuerpo en el escenario. Se explora este espectáculo bajo sus diversos aspectos textuales y escénicos, y se analiza Génesis 6, 6-7 a la luz de los conceptos de intertextualidad, intermedialidad, intersemioticidad y performatividad, para determinar la especificidad del lenguaje dramático y escénico de Angélica Liddell. De ahí se revela que, en este espectáculo en el que la parte de texto hablado está muy reducida, la búsqueda estética e identitaria de Angélica Liddell pasa por otras modalidades y conduce a la invención de un lenguaje específico que contribuye a renovar la modalidad trágica en la época actual y se inscribe en la tendencia general de las dramaturgias y escenografías femeninas de finales del siglo XX y principios del XXI a desarticular, descentrar y hasta a veces transgredir y subvertir los modelos impuestos por la sociedad patriarcal para crear otros más conformes al sentir individual y al tiempo presente. Esta búsqueda pasa tamién, en el caso de la artista española, por una exploración de lo religioso, que corresponde al anhelo de Angélica Liddell de conseguir una forma de trascendencia necesaria para la construcción tanto de su identidad propia como de un sentido colectivo.
  • Dulcinea del Toboso à l’origine de la vie: Réécriture du mythe cervantin dans une pièce de théâtre sublime, satirique et féministe

    Pisa Cañete, María Teresa (Seminario de Investigación de Género y Estudios Culturales, 2020-02-01)
    The aim of this paper is to study, from a comparative perspective, the revision of the character of Dulcinea del Toboso in the play La complainte de Dulcinée, written by Dulcinée Langfelder (an artist living in Montreal). The aim is to identify the elements of such a revision. After having introduced the methodological frame, the analysis will show that the play writer, who follows the Cervantes’ novel, is able, not only to subvert some of the fundamental characteristics of Don Quixote and her muse, but moreover, she is able to surpass them, especially those referring to the creation of the new Dulcinea. Langfelder decides to give the floor to Dulcinea, who takes a way, which corresponds to the quest of her own identity. This search leads her to the encounter of several feminine symbols and figures, as well as a large amount of goddesses, which belong to old religions and civilizations. For the first time in a dramatization Dulcinea is given such a high status; she is represented as an image of the Mother Earth myth. This identification means a turning point in the relationship between Dulcinea and Don Quixote and, by extension, between men and women. Besides, this play can be considered as a feminist one, due to the defense of women’s rights and the parity between men and women, which becomes the motto of the new Dulcinea. The last part of this paper is about some elements that make up this play and which help to define the understanding of theatrical art of Langfedler, an all-around artist: an inclusive sense of feminism, satire and sense of humor
  • Analysis of antipatriarchal discursive representations in literature through three works: three works: matriarchy as an alternative form of exercising power

    Moreno Amor, Maravillas; Rojo Martínez , José Miguel (Seminario de Investigación de Género y Estudios Culturales, 2020-12-14)
    This paper sets out to analyze the presence of alternative literary representations to the classic canons of patriarchy and, specifically, search for texts where a matriarchal order is constructed as a subversive form of exercising power. The interpretive dimension of women as protagonists/participants of the literary narrative is the one that centers the analyses carried out, extracting the archetypal connotations of the characters that articulate the story and their own relationships, which constitutes a critical evidence of realities that transmit implicit knowledge to the reader about the social existence. Although literature generates a negotiated fiction, its critical reading should not be carried out outside those sociological categories that allow us to unravel the world. After reviewing some theoretical concepts on the ideas of matriarchy, patriarchy and feminist criticism, three works have specifically been selected as outstanding examples of how creative tools can serve female empowerment and the transformation of the collective imagination: Lysistrata, a comedy by Aristophanes; One Hundred Years of Solitude, the novel par excellence by Gabriel García Márquez and The Country of Women, by Nicaraguan Gioconda Belli, one of the most prominent feminist writers in contemporary literature written in Spanish. The three works are intimately connected and represent, in turn, a plausible (re) conceptualization of the feminine experience aligned with feminist theories of difference. This last issue allows us to invite the reader to return to one of the classic debates of the contemporary feminist movement: to renounce or to exalt gender, finding in it, rather than a violent and oppressive social construction, an opportunity to change the world from a new scale of values ​​starring motherhood and care policy.
  • V as violence, V as vengeance. : The resistance of women in Paola Drigo’s novel Maria Zef

    Cagnolati, Antonella (Seminario de Investigación de Género y Estudios Culturales, 2020-12-14)
    Paola Drigo (1876-1938) was an important and original voice of Italian literature and many critics consider her to be one of the most important writers of the first half of the 20th century. The main themes that the writer faced during her literary production seem very different: we go from an initial phase in which the description of the sparkling and empty environments of the rich bourgeoisie in which she lived prevails, to a more mature phase in which the writer places humble, poor and marginal women at the center of her stories, weakened by fate and overcome by misfortunes. When she published Maria Zef in 1936, the novel caused a stir among the Italian literary community, because it dealt with subjects, considered taboo, harshly and openly, with an evident desire for denunciation and a sometimes disarming simplicity. The plot, actually quite stark, revolves around three female figures who are at the center of the narrative plot and from whose relationships the fundamental dynamics of the novel originate. However, this simplicity is only apparent, since the novel proceeds intelligently through the presentation of some clues that will lead to a final epiphany, which will be followed by a destructive and decisive gesture, a gesture widely justified by the premises. The ending is worthy of a Greek tragedy: the fatal component dominates, the intertwining of destinies, fallen in luck to ignorant humans, and inevitably death assumes the dimension of the event necessary to satisfy the thirst for a just revenge.

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