María Fernández-Babineaux
oral representations or "Oral literature" 1 appeared in the eighties in central Lima, as a form of informal economic activity. Leading the economic crisis, the street turned into a scenario of economic output. Unemployment and underemployment were growing phenomenon within the popular sectors have developed their own strategies of survival, an emerging phenomenon called informal market. " The so-called 'strolling players' appeared in this space offering her show informality where they represented the social, political and cultural Peru. Congregating in public places frequented mostly by students, unemployed or vendors began developing a new form of representation. We must clarify that today these are street performances in arenas where species have specific times for comic act organized with support from the Municipality of Lima.
The so-called street address, has been the subject of testimony about the city, as published by Juan Zevallos, and doctoral research as Victor Vich, in relation to its very unique representation of urban social reality of Peru. In his doctoral thesis, Vich answered a series of questions about the use of language in these representations and their social and political content. Juan Zevallos For its part, made a collection of experiences in the metropolitan city of Lima.
This essay will discuss the role of gender and how to operate on these representations in relation to social and comedy related to the carnival and its attributes transgressive. The first part will discuss two short texts, the product of a short field study in the city of Lima, in the district of Chorrillos which often presents a variation of the comedians of the street, the monologues and dialogues of the comic transvestites. In the second part of this essay, I will discuss one of the texts published by Victor Vich in the chapter on gender representation, as part of his field research published in The street address (2001), which examines gender and social representations.
transvestite
's speech
This work is the product of an unusual field research, rather the beach, carried out in the summer of 1999 in the Lima district of Chorrillos located south of Lima. This work is the product of a series of recordings surreptitiously carried out for a month in what I called "the beach street address." In this popular waterfront district, grouped individuals from different social strata, the most prevalent subjects of low or lower middle class, merchants and public that travels along the waterfront before or after being on the beach. The performances I attended part of a series of visits to the pier, where watched comedians approached people individually with a short script that repeated continuously. The speech transcript in this trial was collected during one of the 15 visits to the waterfront. The working method of the comic is apparently random or improvised, usually approaching couples who frequent the pier and start a dialogue in order to get some money back. The routine is to approach a couple and refer to the man so suggestive selling any type of candy, dancing, making moves obscene and try to initiate contact, sometimes the comedians are questions which are often not answered. Most casual viewers listen to the comedian for one or two minutes to give them money to retire. Begin their routine complimented the man and, according to their reaction, the discourse becomes aggressive or not, usually ending by questioning the manhood of the viewer, calling him "queer."
In this sense, Judith Butler argues that offensive language can be a weapon that misplacement of the individual, acting on it and produces a kind of censorship which is impossible to undo. In the discourse of "Jennifer" a transvestite who begins his monologue addressing the couples gathered on the boardwalk, there is an effect of what Butler calls "linguistic vulnerability" to position their casual partners as entities that are part of a fringe group.
How cold is it not? / Why do not you warm me, Daddy ... / do you like? / Two suns and milky tea / I know that you liked but deny rogue / in your face that you see I love the mariconada /
Jennifer, Chorrillos, January 1999.
opening monologue with verbal violence creates a climate where the subject is positioned in a site of inquiry in the Althusserian sense. Through discourse, the subject spreads its ideological stance from patriarchal view, which I implemented as manager and player subject of a discourse and an ideology that produces and praises the traditionally male human figure and at the same time invested (in the Freudian sense of the term) to its position of objects and not subjects of the monologue. Viewers do not seem dehierarchized their male role in a patriarchal society as the producer of the speech is also a man playing a genre we might call the quintessential vulnerable. In this sense, the patriarchal ideology challenges the individual and focuses on an area that freezes and active at a time from a speech confirming ideological portion and its validity within the social group. By telling the audience: "I know that you liked but deny" is confirming and affirming his thesis on the alleged homosexuality potential viewers, who make up a intrasubjective ideological space over which the actor plays this set of ideas, judgments and prejudices about sexual preferences. The vulnerability of the spectators operates from its position challenged by the occasional master of speech. Subjects patriarchal discourse players staged the rules by which social reality is constructed, a situation that calls and identifies the subject within its generic position internalized.
Theoretically, the performance has been studied as a representation that shows and unmasks the underlying rules of social reality, highlighting the active role of the subject from its own constitution. Therefore, as Vich said, "This is a very complex act that if one side wants to deconstruct the basis of identity (and power), can also affirm the other within a predetermined political strategy." (Vich 50). Given the homophobic reality of Lima society, juxtaposed with actors' identities and the male homosexual ("mad") in the same space interpolating. The man in the social imagination seizes the patriarchal discourse that appears as a trigger of the double standard, the male has the consequence that the design Lacanian phallus, and the male can be subjected to another of the same gender stripping of the phallus. Saying: "I know that you liked but deny" the comic highlights of interpolating position of expert on the social situation that places the viewer in a space of mutual understanding in which the enunciating subject and the viewer are part of a collective experience similar. The comedian makes a rhetoric that makes him a consciousness of an ideology set the parameters of the Peruvian regulatory homophobic, but this does not exclude the idea of \u200b\u200ba potential homosexuality.
The second text was also reflected in Chorrillos. This time there were three comedians, two of whom were transvestites. The comedian dressed in male clothes they called cholo Trevor starts the speech:
're the queen of the Pope, Michelle, with those legs [leg] of cassava that God has given you / where there are no leaves or paste Marilyn grab as / is a butch / strip only who gets money and if you have one girl laughs at them / But I, no, see daddy, you the of the wick short / I'm macho and I have good large but also grab all / small, large, medium / on the face is seen /. Cholo
Trevor, Chorrillos January 1999.
One of the comedians in drag, with a serious intonation says, "and screwed it all, so it was not, and now runs and come back later when you learn your script, dude" (Michelle, Chorrillos, January 1999).
Initially, the only comedian dressed as a man in this episode is the one who seizes the speech while the other two players (male transvestites) are used to show. The enunciating as representative of the male is the one who nominates (baptized), appropriates the other two (presumably women) and his speech to annul the show speaking agents. The word is generated from the masculine role and from his vision masculinized the dynamic behavior of "an attractive woman" in patriarchal society of Peru. The social and sexual aspect comes into play when called 'potato queen' ", and takes advantage of the multiple meanings of the word potato in Peruvian slang. The sexual connotation of the potato tuber that symbolizes the Peruvian Andes and masked uncovers the source of one of the comedians painted blonde hair and her alleged promiscuity (the potato: the vagina). The comic speech removed his masculinity, so far exalted by the initial patriarchal discourse: / I'm macho and I have really big / to end his story by referring to his preference for small penis.
Gender, according to Butler, is "the Social Significance That assumes Within a Given sex culture" (Bodies That Matter 5). A body culturally visible and legible when positioned in a particular generic. Butler refers to this idea of \u200b\u200bgender as consisting of a series of deliberate acts but is constructed through practices of behavior and thoughts that are repeated and quoted by various discourses that produce and reproduce the effects they name. The discourse of deregulation comic male position within the social imaginary as well as its audience and gives it a practice that lies somewhere beyond recognition "socially." The transvestite, invested (In both senses of the word), placed in a position of power and dressed as a woman, positions the owner of the voice in a recognizable within the traditionally accepted as male behavior. By investing these roles crosses the line of male as strong, active, to put it in line with the traditionally 'feminine' passivity, weakness, submission from a compromise: the transvestite. Therefore, there is a break with the accepted canons of masculinity in the public sphere but expressed by a "male" and questioned by a transvestite. It overrides the generic position of Trevor cholo who is, to the earlier speech, "a male", but that "grabs everything. " By losing visibility and legitimacy is excluded from the speech: "and now travels and come back later when you learn your script, man." By not doing its genre, the comic has destabilized the order (social order), the order of discourse (patriarchal), and has misplaced their partners chide him "learn the script" social pact. By ignoring the speech assigned to it (its kind performed) must vanish from the scene and the virtual social scene at the same time. With regard to this, Butler argues: In
Being Called an injurious name, one is derogat and demeaned. But the name Holds Another Possibility out as well: Being by street name, one también, paradoxically, Given A Certain social Possibility for Existence, Initiated Into a life time of the prior language Purposes That Exceeds That animate That call. (Butler 2)
When given the name "queer" is attributed to the cholo Trevor social existence that marginalizes and void, making it impossible to "recognition" as such, but to tell you that this very existence is it invisible negating the possibility of readability. Upon appointment, Trevor opens and moves from subject to subject interpolating challenged, being in this instance that the roles are reversed to form a string of attributes that differ significantly force the word "queer" to a level perlocutivo.2
The consequence of this performance falls within the mandate of disappearance from the scene of the item that replication of a speech has been canceled and replaced by a transvestite.
misogynist discourse in his doctoral thesis "The speech of the street," Victor Vich analyzes the discourse of the street "" from several areas: social, cultural, economic, government, historic and generic. In this part of the study have taken part of the data collected by Vich and I have examined only from the perspective representative of sexuality and gender.
I will use one of the texts discussed in chapter Vich 'Love polite, the "public sphere" (Vich 127) and representations of gender in the streets. " The text was taken by Vich examine in San Jorge prison in Lima, where they performed comic free prisoners in the prison. The text transcribed by Vich is:
The man has a good weapon / what is the best weapon of man? / Pod / how it will be the pod / is the word / the way you can express yourself in front a person / address to the public or do you like that girl? / normal / pull it out to dance education / "sorry friend but I'm sorry that you're the most beautiful / lot thank you / I want to dance with you "/
/ now / if the girl says" Do you know how young? No '/ you normal / normal / normal / you know stubborn asshole / try / the next music back out / Bring it to take to dance but with more flowers / "friend please forgive me pass me the confidence right? / Forgiveness does not know what he was doing San Pedro and left the door open and dropped a nice little angel to the earth / and that cute little angel are you / and to dance with you I guess that was dancing on a cloud / thank you '/ now if the girl says "you know what, young no' / you normal no more / you know stubborn try again / but with more flowers / "to kneel the kings of the earth that is going to spend your majesty of heaven / the true friend I want to dance with me / thank you" / "know how young , no? / okay? / no / me you're falling 'aik' / no no and no "/ normal you no more / try again because there is a saying" Faith moves mountains and if you think you are beaten , defeated you / But if you think you're going to realize you've done '/ Bring it on out to dance / "sorry friend the truth do not go thinking that I want to molest you, but I just want to be a friend your library / out to dance with me would be a pleasure to honor / thank you Miss "/
/ now if the girl you still cop / 'ay you are thick right? / you know what? / no / you do not want to dance / no no and no "/ normal you / there use your brain / this girl has to leave because you're proposing and stick it in your head that this girl out / Boat Seek him roe / row seek him / walk /" I want to dance with you "/" oh no you're stubborn young Do not? / no no / I want to dance with you / besides I do not know you "/" do not know "/ get even that little word asshole anger / has [Sic] come the tone huachimanes / why? / Because you use your intelligence /
/ "do not know you" / "ah not forgive '/' there no more friends' / what did you mean to me I do not know me? / what things you think I'm an outlaw / a perverted / you're wrong because if I have come to this event has only been healthy for fun / you do not even get to my feet / 'but young ... " / "shut up" / "You surprised me with your words because I am a boy of my house that has intellectuals and cultural moral principles that you never are you going to have / as well as you'll soon see to be a future architect / I'm getting ready in the Universidad Mayor de San Marcos / y in this brain I have stuck more than 50 books on philosophy and Peruvian writers such as Socrates, Aristotle, Plato, César Vallejo / "
/" plus your brain even compared to mine because I get to dance to poderte you I have to run my forty million cells hypothalamus hormones encephalic neurons in my brain / and so dancing cuchatumadre [sic] '/ and that love / love / Apologize / "friend forgiveness / I'm the joker recontra but if your boyfriend is not me I can take my car / what? Do you think I have no car? / I have a car / I've left on the floor / gulping grass / and still in love "
(Danny, Penal de San Jorge, August 1996)
Gramsci defines analytically the distinction between civil society and political society. The first is formed by voluntary groups, not enjoined or controlled by force. The second was up the army, police, bureaucracy, government entities that provide a particular code of social behavior. Prisons being controlled by a highly political society whose role is to direct and rule enforcement imposed on its members, the stages for This "representation" is doubly regulated. On the one hand, the rules from the physical body where the speech is delivered, the prison and the other, as a single representation of men who appropriates the feminine discourse, creating it and regulating it. In this text, however, there is a reversal of traditionally and culturally sedimented site for women, related to the dynamic comedy in the strict sense of the word.
The definition of comedy takes us to the idea of \u200b\u200bcarnival, the breaking of rules (social laws or laws enacted by the collective imagination.) Consequently, a scenario that is mounted provides a 'world upside down. " Now However, as Vich said in the discourse of women's presence strolling players is zero, the woman is not speech but an agent of his voice (or voice) is articulated by the male ego that it appropriates. "In this text, the woman becomes an object where the man puts his language, projects his wishes and is structured as a subject." (Vich 133) In contrast to this idea, in this text, she is articulating a position of power that, culturally, and that does not have the social imagination of the audience and the comedian denies. Without doubt and agree with the view of Vich, the woman's voice is silenced, and the comedian who usurped by a female voice, but at the same time, the voice payroll women as agents of discourse of rejection. The subject fascia masking voice and a kind of carnival where the parody enunciating subject not only to women as social beings without a voice, but also the dynamics of relationships between genders, but at the same time empowers and places position to reject and turn on the subject lost his masculinity by rejection. Within the framework of social subjects, in prison, a space epic carnival, comic, which glorifies the 'illegal' or illegitimate in a context of control.
comedy
This site acts as a mediator between the repressive entity (parent) of the prison as an institution of state and viewers who are in situations of attentive monitoring. According Umberco Eco, the idea of \u200b\u200bcarnival is closely connected with the comedy and the difficult definition of the term. For Eco, "comedy" is what Wittgenstein calls an "umbrella term" which hosts a number of varied phenomena that define it. Comedy as a term is a blend of definitions does not necessarily homogeneous as humor, parody, satire, the grotesque, etc.
However, in the comic effect a minor violation of the rule. That is, break the rules of courtesy given to address a tinge of humor. In the text presented in jail pretending to be at a party (carnival), the comedian tries to leave to "dance", which in the jargon Lima also has a negative connotation sexual.3Ante multiple women at the ball (in sex), the comedian reacts violation courtesy rules that had previously been careful to maintain:
'/ I'm getting ready in the Universidad Mayor de San Marcos / y in this brain I have stuck more than 50 books on philosophy and Peruvian writers such as Socrates, Aristotle, Plato, César Vallejo /
/ well your brain is not even compared to mine because I get to dance to poderte you I have to run my forty million neuronal cells /
According Vich, the speech of the actor is defined by the "performance of courtly love '.4 However, the rhetoric of courtly love does not involve verbal abuse in any of his ways, but quite the opposite: the beloved is a perfect and unspoiled that is accessed through its idealization. The speech of the comic in the first part of "dialogue" (monologue) could be branded as the rhetorical devices of courtly love. However, the performance is fired in a brutal and violent language against women did not agree to his repeated request for "dance", "this situation is not represented in courtly love. In the first part of his speech, the comic, use clauses which consist of recurring verbal pleasantries and compliments that function as courting a woman:
/ "sorry friend but I'm sorry that you're the most beautiful / thank you / want Dance / 2. Forgiveness does not know what he was doing San Pedro and left the door open and dropped a nice little angel to the earth / and that cute little angel are you / and to dance with you I guess that was dancing on a cloud / thank you '/ 3. / "Sorry friend the truth do not go thinking that I want to molest you, but I just want to be a friend to your collection / salt dance with me would be a pleasure to honor / thank you Miss "/
This text expresses the" desire "the comedian of" dance "," whose sexual connotation in the popular language of Peru makes clear the semantic shift of the verb. His speech is based on the imposition of sexual desire. In the first attempt the women referred to as the "most beautiful" and ends with a terse "I want to dance", or in other words, "I want to copulate." Its objective is raised but concealed by the language and double meanings. The emphasis is not achieving its objective of "dancing" in the party but sexually possess its object in sight. Raises the benefit would bring the "dance" in a cloud or a cloud mate as highly exciting. In the latest attempt by states that want to be "just one of your collection", ie, one on your list of lovers. He ends his speech by saying "it would be a pleasure," noting his hope that with each negative must be repressed and controlled finances analogy to control space in which it is located. Just as in the level of discourse is parodying a party (carnival), in spatial is also leading the carnival (the party), the breaking of rules to the prison compound.
Positioned in a scenario of "power", comedian moves as an actor in a political society governed by law. This power is attributed by the public or perceived audience represented by the comic, which offers a show that follows the rules of comedy in this text. Therefore, analyze the codes to be handled in the performance of comedian for comedy these clauses relating to the representation of women in a practice monological speech and sexist. According to Eco, the comic effect is realized when: "(i) There is a violation of a rule (Preferably, But Not Necessarily, a minor one, like an etiquette rule)" (Eco 2). There are a number of rules are violated, the performance made in the prison of San Jorge de Lima. The first is the production of a speech that was initiated in parallel with the word gun. Apart from the connotations Lacanian Vich5 studied by (ii) and shift the gun as penis (the pod) or as a phallic symbol or power. The physical weapon is used by the group repressive (police or political subjects) to control prisoners, but the symbolic weapon is the power attributed to them: the phallus. Why not mention the penis as phallus, but as a signifier of desire and power. The comic is breaking the first rule by mentioning the method of subjecting individuals detained and comparing it to the penis (the pod) with which enjoins the control group, forces, monitored, parameters to this group of prisoners, the comedian, and its function is to entertain, is spreading the ideological discourse of oppression of the group is undergoing. In this sense, the comic will re-presents (they re-submitted) as the situation comedy political subject. Thus, the speech of the actor breaks the rule have gone not only to entertain and spread a discourse of revolt and awareness of the surveillance they are subjected.
Behind the scenes, this show has the same space as a framework that involves the violation 'in macro' rule (social) and which is designated as a generator of this same speech is suppressed.
The second clause of the play refers to the subject that violates the standard pattern: "(ii) the violation is Committed by someone with Whom we do sympathize Not Because He is an ignoble, inferior and repulsive (animal-like) character" (Eco 2). The second rule is violated is represented by women embodied in the comic, who takes over his speech. The comic episode is achieved by getting a response from the woman with whom viewers can not find any relationship and that no "sympathy" as inferior and repulsive has no authority (author of the speech.) The dynamic between the genders is rigidly fixed, determining that women can only be parodied and folded his voice that can not be recognized. Rejecting the suitor with continuous negative places it in the field of social rule violation for the social sector in particular. It is accepted that a woman is located in a privileged position and violating the "law" group, social and gender of the woman as an individual subject to the will of man. From this perspective, women have been trained (always under the shadow of a male voice) and transgressed the rule of the social imaginary is relegated to a secondary role, have rebelled and rejected the possessor of the phallus discourse in this sense, has appropriated the phallus through language that rejects it.
The third rule is related to the superiority that the perceived audience and the comic as a result of a number of variables: "(iii) THEREFORE we feel superior to historical misbehavior and to His sorrow for HAVING broken the rule." Viewers (prisoners) are observed and controlled, the performance of a woman being virtually attacked at a party and forced to "dance", "places them in a position of power within their social marginality. The comic acts as mediator between the subject perceived as inferior by the public, resulting in the situation comedy, and places the woman as a subject that has broken the rules of the game but, as inferior beings that is, its negative provokes laughter. By saying "Do not know" the suitor takes a position highly offensive comedian and narrator expresses the text: "get even that little word asshole anger / let's come huachimanes (security officers) of the pitch (party) '. That "do not conozco6" translates into "do not copulate with you" which embodies the idea of \u200b\u200bbeing less revolting to his authority in two ways: one, taking the active role of the relationship attributes a power that the claimant can not admit to give women a role that does not belong in sex and on the other hand, not only rejected his proposal after several attempts, but instead women dismantle their self-perceived masculinity annulling the adoption, she, the traditional male role of possession. As regards Vich, saying "do not know you," the woman that the subject does fade as the individual he believes to be. This is why this expression that the subject does react trying to re-articulate its imaginary identity, 'oh no sorry / friends no longer here / what you wanted me to tell me that I do not know? ". The individual attempts to reconstitute to have been disappeared by the speech of women. The weapon of language has also managed to disappear momentarily like "man", being not only rejected in his attempt to "dance" (mate) but been moved as the passive subject of the relationship ("do not know"). The subject is reconstituted and argues that he was not looking for "mate", which reveals its intention in the text: "What things you think I'm an outlaw / a perverted / you're wrong because if I have come to this event has only been for fun healthy / '. The reaction to the phrase "do not know / no intercourse with you" speech raises a first question the intent of her words and, second, it resets back to target and reach their goal: to copulate. "And so we dance (intercourse) chuchatumadre" is the clause that determines the success of his masculinity and which precludes an alleged courtship of courtly love. " The subordination of the audience, people in prison, locate performance make this dance the woman as a subject more marginal than they, and therefore, fulfilling the terms of comedy, the object of derision and contempt. When you try, the woman retracted by the reaction of the pretender to his "do not know" is insulted and warned to "dance": the imperative to "dance chuchatumadre" brand repositioning of women in their place abject and servile, back to order imaginatively set. The realization of the desire that in courtly love is unattainable, in this love 'rude' desire is made and placed in roles their social imaginary places.
This carnival, which is the quintessential time, has established a series of masks, also temporary, which have allowed the actor subject grants women a space to which she can not access on sexuality. As in the carnival, the subject has been stripped of his identity and has made for an instant, the lower (in this case the woman, as in the carnival, which is unusual to see things animalized) acquire a kind of " moment of glory "and get to have power. In this double carnival carnival of text, dance within a carnival-the prison-states is the subject and is also a man who sets reversal of the norm among the male-female relationships and gives voice to women and then remove it. This performance carnival is inaccessible to women, who did not in an area like this carnival, where the rules are broken and violate them, is allowed to have temporary visibility. On the contrary, it is readable by just what the invisible: the ilegilibilidad.
The analysis of these 3 texts itinerant speech reveals the conventions agreed upon in the social imaginary on 3 categories of gender: the homosexual male and female abject. On the one hand, the male dismounted as the counterpart of the popular gay male representation hyped; and on the other hand, women as invisible entity acquires only the power that is given from a place and a male voice is presented and represented as a despicable creature and commodified.
The three forms of representation generate subjects adhered to patriarchal discourse that sustains and enslaves both the private and in public. Thus, street performances ideologies spread and reproduce identities assembled highly stable, or in an area which carnival is possible to transgress.
* * * -------------------------------------------
------------------------------------- Notes
1 Cultural studies have projected the study literature as a highly political body, subject to various forms of verbal practice. This concept of literature is applied to the various productions within the cultural heterogeneity of Latin America and is expanded, studied and seen even in the form of popular oral representations. 2 JL Austin
distinction in speech acts, perlocutionary and illocutionary act. The first is the act which produces certain effects resulting from what is expressed. The illocutionary act is itself what is expressed. Here I am referring to the first and the effect that causes the listener to be called "queer."
3 According to the dictionary of sexual lexicon Rodríguez Castelo, in Peru, also means dancing in the popular language, sex, mate.
4 Courtly love, as Deyermond was popular in the Middle Ages as a concept of love in both a social and literary. It was characterized by the idealized treatment of women, as a perfect being and almost unattainable, and to express, the lover, his inferiority and submission as a servant professes his love. Vich
5 refers to language as a means of incorporation of the individual, according to Lacanian theory. The subject, according Vich, in this example, is removed from its position in generic and non-hierarchical language. 6
know in the biblical sense significa copular.
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Bibliografía
Althusser, Louis. «Ideology and Ideological Apparatuses» en Lenin and Philosophy. New York: Monthly Review Press, 1971.
Austin, J.L. How to do Things with Words. Cambridge: Harvard UP, 1962.
Butler, Judith. Bodies that Matter. New York: Routledge, 1993.
---. On Linguistic Vulnerability. New York: Routledge, 1997.
Deyermond, A.D. The Middle Ages. Londres: Ernest Benn, 1971.
Eco, Umberto. «The Frames of Comic Freedom» en T.A. Sebeok (ed.), Carnival!. New York: Mouton Publishers, 1984.
Gramsci, Antonio. The Prison Notebooks. Trad. Quintin Hoare. New York: International, 1930.
Rodríguez-Castelo, Hernán. Ecuadorian and Latin American sexual lexicon. Quito: Ediciones Libri Mundi, 1979.
Vich, Victor, The speech of the street. Lima: Network for the Development of Social Science in Peru, 2001.
Zevallos, Juan. "The critique of representation in the city speak" in Osamayor 7 (2000): 13 - 24.
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© 2006, María Fernández-Babineaux
Write to the author: @ Maria_Babineaux TAMU-Commerce.edu
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