出版社：Universidad de Chile. Facultad de Filosofía y Humanidades
摘要：By means of a series of references –stylistic, anecdotal, and structural– to a process of unconcluded subjective construction, M. Núñez proposes new possibilities of formulation –in a still-to-come place– for certain emerging femenine constructs, nomadic, and in consequence, stateless. In “A la luz de la oscuridad” (1998), as much as in “Sueño de una tarde dominical” (2000), the author subverts the traditional tools that serve to establish the boundaries of geographic space and, through the exhibition of her arbitrary character, undermines such notions as country, national territory, and place of belonging, until she puts them within the reach of the subject in movement, anomalous and hard to represent within the limits of logic. It is therefore suggested to read the theatrical writing of M. Núñez as a profoundly utopian proposal, based on a poetic of resistance, or arbitrary affiliation and with the right to a subjective construction. It also presupposes The search a language of her own, understandable from any position of power and, by extension, impossible to be deciphered, appropiated or normed (Deleuze & Guattari, 1978). That is to say, it is about trying to find in these texts, a re-writing- on the margins of logicof the history of causal relations and of memory.
其他摘要：By means of a series of references –stylistic, anecdotal, and structural– to a process of unconcluded subjective construction, M. Núñez proposes new possibilities of formulation –in a still-to-come place– for certain emerging femenine constructs, nomadic, and in consequence, stateless. In “A la luz de la oscuridad” (1998), as much as in “Sueño de una tarde dominical” (2000), the author subverts the traditional tools that serve to establish the boundariesof geographic space and, through the exhibition of her arbitrary character, undermines such notions as country, national territory, and place of belonging, until she puts them within the reach of the subject in movement, anomalous and hard to represent within the limits of logic.It is therefore suggested to read the theatrical writing of M. Núñez as a profoundly utopian proposal, based on a poetic of resistance, or arbitrary affiliation and with the right to a subjective construction. It also presupposesThe search a language of her own, understandable from any position of power and, by extension, impossible to be deciphered, appropiated or normed (Deleuze & Guattari, 1978).That is to say, it is about trying to find in these texts, a re-writing- on the margins of logicof the history of causal relations and of memory.
