FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W208284155> ?p ?o ?g. }

• W208284155 startingPage "109" @default.
• W208284155 abstract "According to Gaston Bachelard, author of The Poetics of Space, the house, or the abode, provides one of the greatest powers of integration for the thoughts, memories, and dreams of mankind. (1) In the film Miss Mary, the Argentine director, Maria Luisa Bemberg, utilizes the space of the estancia to represent the national, cultural, and social values of her nation, especially those pertaining to women, during the 1930s and '40s. Interweaving her own memories with those of the protagonist, the British governess, Miss Mary Mulligan, who had come to Buenos Aires in 1938 to take care of an estancia owners' three children, Bemberg reconstructs the era's patriarchal norms, the Argentine upper class's conservative politics and penchant for all things British including the English language, and the period's political upheavals including the rise of Juan Peron, the Spanish Civil War, and World War II. The space of the estancia, Miss Mary's Buenos Aires apartment, and the church of St. Ignatius, also in Buenos Aires, where the youngest child Terry's wedding is to take place, serve to link the present (1945) with the past (1938), as well as contrast the rural and the urban way of life. After an initial historical note in which Bemberg informs the viewer that in 1930's Buenos Aires, General Uriburu overthrew the legitimate government of President Irigoyen and remained in power for the next fifteen years through fraud and coercion, she projects series of black and white photos of famous people and events of the era accompanied by its musical hits which serve as frame for the story. The repressive values of Uriburu's regime filtered down into all layers of Argentine society, and especially to its women and mothers, as evidenced by the lifestyle and rituals of the Martinez-Bordagain family, whom we meet in short introductory vignette, and in series of flashbacks that Miss Mary, played impeccably by Julie Christie as very civilized, self-controlled, and distant (Fontana 36), has in her apartment and in the church while waiting for the youngest daughter Terry's wedding to begin. The family life on the estancia, as remembered by Miss Mary, is in reality work of memory(Kearney 6) for the director Bemberg through which she seeks to reconcile with her own loss of childhood innocence and with the loss of her political ideal of freedom for Argentina and for women and mothers in general. Through the characters of the governess Miss Mary, the mother Mecha (who together comprise type of schizophrenic motherhood), and the two daughters, Bemberg seeks to revisit her identity and its changes through time, and also to preserve her selfhood when confronted by the Other, i.e., the patriarchy, represented by the male characters of the estancionero, Alfredo, his son Johnny, and his brother-in-law Ernesto. The film, in Bemberg's words, is a fresco of an epoch I knew personally. There are many parts in which I show ... (Bach 23). Throughout the film's dialogue, Bemberg concomitantly alludes to the acts and events of violence of the era, such as the suicide of the poet Leopoldo Lugones, and the demonstrations in favor of Peron, which are also the founding events of Argentine society today, and as such, are part of the nation's collective memory. (2) The close, suffocating atmosphere of Miss Mary's current apartment in Buenos Aires and life on October 16, 1945, is contrasted through flashbacks with the wide open spaces of the pampas, (3) to where Miss Mary arrived in the summer of 1938 as governess from England for the Martinez-Bordagain children, Carolina, Johnny, and Terry. Upon her arrival, Miss Mary is informed by Ernesto that this is civilized country, and as surrogate mother, is immediately introduced to the gendered spaces of the estancia by the mistress of the house, Mecha, passive, subdued wife, sometimes given to hysterical gun-toting rages, when driven by her philandering husband. This is your kingdom--the playroom, Mecha tells Miss Mary. …" @default.
• W208284155 created "2016-06-24" @default.
• W208284155 creator A5062260303 @default.
• W208284155 date "2005-09-22" @default.
• W208284155 modified "2023-09-26" @default.
• W208284155 title "The Spacialization of Motherhood: Estancia, Nation, and Gendered Space in Maria Luisa Bemberg's Miss Mary" @default.
• W208284155 hasPublicationYear "2005" @default.
• W208284155 type Work @default.
• W208284155 sameAs 208284155 @default.
• W208284155 citedByCount "1" @default.
• W208284155 countsByYear W2082841552012 @default.
• W208284155 crossrefType "journal-article" @default.
• W208284155 hasAuthorship W208284155A5062260303 @default.
• W208284155 hasConcept C107993555 @default.
• W208284155 hasConcept C142362112 @default.
• W208284155 hasConcept C144024400 @default.
• W208284155 hasConcept C15708023 @default.
• W208284155 hasConcept C17744445 @default.
• W208284155 hasConcept C199539241 @default.
• W208284155 hasConcept C81631423 @default.
• W208284155 hasConcept C94625758 @default.
• W208284155 hasConcept C95457728 @default.
• W208284155 hasConceptScore W208284155C107993555 @default.
• W208284155 hasConceptScore W208284155C142362112 @default.
• W208284155 hasConceptScore W208284155C144024400 @default.
• W208284155 hasConceptScore W208284155C15708023 @default.
• W208284155 hasConceptScore W208284155C17744445 @default.
• W208284155 hasConceptScore W208284155C199539241 @default.
• W208284155 hasConceptScore W208284155C81631423 @default.
• W208284155 hasConceptScore W208284155C94625758 @default.
• W208284155 hasConceptScore W208284155C95457728 @default.
• W208284155 hasLocation W2082841551 @default.
• W208284155 hasOpenAccess W208284155 @default.
• W208284155 hasPrimaryLocation W2082841551 @default.
• W208284155 hasRelatedWork W110766940 @default.
• W208284155 hasRelatedWork W125012445 @default.
• W208284155 hasRelatedWork W129249579 @default.
• W208284155 hasRelatedWork W1588438533 @default.
• W208284155 hasRelatedWork W1815340926 @default.
• W208284155 hasRelatedWork W1975816303 @default.
• W208284155 hasRelatedWork W1977528344 @default.
• W208284155 hasRelatedWork W1986644344 @default.
• W208284155 hasRelatedWork W1997018143 @default.
• W208284155 hasRelatedWork W2030284031 @default.
• W208284155 hasRelatedWork W2102216463 @default.
• W208284155 hasRelatedWork W257540646 @default.
• W208284155 hasRelatedWork W2587864553 @default.
• W208284155 hasRelatedWork W2607664162 @default.
• W208284155 hasRelatedWork W274890161 @default.
• W208284155 hasRelatedWork W2992117952 @default.
• W208284155 hasRelatedWork W301487497 @default.
• W208284155 hasRelatedWork W387113207 @default.
• W208284155 hasRelatedWork W801820449 @default.
• W208284155 hasRelatedWork W82329920 @default.
• W208284155 hasVolume "51" @default.
• W208284155 isParatext "false" @default.
• W208284155 isRetracted "false" @default.
• W208284155 magId "208284155" @default.
• W208284155 workType "article" @default.