Genero eta nazio identitateak Katalina Eleizegiren antzezlanetan

  1. Álvarez Uria, Amaia
Supervised by:
  1. María José Olaziregi Alustiza Director

Defence university: Universidad del País Vasco - Euskal Herriko Unibertsitatea

Fecha de defensa: 05 September 2011

Committee:
  1. Aurélie Arcocha Scarcia Chair
  2. Mari Luz Esteban Galarza Secretary
  3. Ur Apalategi Idirin Committee member
  4. Milagros Amurrio Vélez Committee member
  5. Patricio Urquizu Sarasua Committee member
Department:
  1. Lingüística y Estudios Vascos

Type: Thesis

Teseo: 315215 DIALNET lock_openADDI editor

Abstract

The aim of this research is to analize the images of basque women in the plays written by Katalina Eleizegi and to compare them with the hegemonic representation of her time (20th century). We will see how does she go beyond the limits of gender and nation identities with her female characters and in wich way does she do it in the different two periods of her life and work: Nazioaren ohorez (in the name of the nation) y Autoexilioa (autoexilium). In the first period she lived in San Sebastián (Guipuzcoa) in her family's house and she won literary competitions with her first three plays. They were staged, and after this published. Her main characters weren't arquetipal, as it used to be in her time, they represented women's dualities as Gilbert and Gubar propose in their book The madwoman in the attic. Doing this Eleizegi completed the main character's image, exemplary woman, (traditional, virtuous and catholic), with another type of women who were out of the canon; witches, poor, old or vain girls. She wrote her historical drama with a nationalistic and christian purpouses working in the construction of the narration of the basque nation, history, tradition and past. In the second period she moved to Estella (Navarra) away from her famaily to life alone and she almost didn't leave her room to go out. She didn't took part in any contest and that's why she didn't get published what she wrote in that time. We have analized the historical drama she wrote then based on the life of Catalina de Erauso, the Lietenant Nun. Choosing this historical character she displaced the female ideal of this epoque, which uses to be the main character in the plays of this time. Doing this she recovered a historical reference forgotten by the basque culture besides of postuling other way of being basque women or living gender and nation identities in an other way. She gave an example of agency, autonomy and authority to the basque women who attended this play in the 60's. So, she discovered different ways of living our body providing us with a transgender character (a non-ruled one, in other words) and she shows us transition as a path to reach personal hapiness and freedom. She uncovered the customs of the basque women in history and situated basque women in basque tradition and culture (without hidding the negative consequences for women of some traditions). She also spoke about friendship among women as a positive value and love's pasion as a burden and source of grief and sacrifice or women. She resists against the hegemonic way of being a basque woman, she confront the butch estigma and put into cuestion tne binarism and the gender and sexual discrimination with her work and her characters.