The threat of violence, the glimpse into a heretofore unknown world of abuse, and the constant display of marginalia, all contribute to the erotic appeal that Rosario holds for both men. The similarities between the processes of mimicry outlined by Bhabha and the social dynamic portrayed in Rosario Tijeras demonstrate how societies can share common discursive strategies in dissimilar historical contexts. However, her notoriety as well as her moniker tijeras are acquired after she avenges a rape by seducing her attacker and subsequently castrating him with a pair of seamstress shears. In recalling the early days of his involvement with Emilio and Rosario, Antonio cites his desire to depart from his existence as a floundering student and loveless young adult: Observed at the website www. Therefore, our attention naturally centers around Emilio and Antonio and the basis for their physical and emotional attraction to Rosario. Era adicta a las telenovelas, y de tanto verlas en la casa donde trabajaba se hizo echar.
Out of the morass of poverty, drug use, and violence emerges Rosario Tijeras, whose combination of brutality and voluptuousness reaches legendary heights well before her eighteenth birthday. It would not be too cynical to allege that the conclusions made by Antonio within the context of social turmoil and class conflict can be read by some as a reassuring sociological principle that restores a sense of eminence among the traditional ruling classes. Piercing the heart from above is the metallic photographic image of a revolver, the barrel of which points downward toward the center of the cover. A whole range of comments and observations made by Antonio would likely have a palliative effect for those whose traditional position of social dominance has been shaken by the tumult of narco-violence and the flow of money and material possessions into the underclass. The cover art discussed here refers to the edition of Rosario Tijeras published by Siete Cuentos. Era adicta a las telenovelas, y de tanto verlas en la casa donde trabajaba se hizo echar. Los sentidos del desarraigo en la narrativa colombiana reciente. The inclusion of detail regarding her exclusivity and elusiveness drift into the realm of class and culture, suggesting that part of her appeal involves her status as foreign and proscribed. In recalling the early days of his involvement with Emilio and Rosario, Antonio cites his desire to depart from his existence as a floundering student and loveless young adult: The threat of violence, the glimpse into a heretofore unknown world of abuse, and the constant display of marginalia, all contribute to the erotic appeal that Rosario holds for both men. See "Works Cited" for complete bibliographic information. U of California P, If her beauty and sexual attraction are uncommon, they are part and parcel of a larger, unknowable creature. Our introduction to the character of Rosario consists of her immediate condition as a hospital patient and victim of multiple gunshots at point-blank range. Rosario was also the perpetuator of violence, attacking her elementary teachers with scissors on more than one occasion. In either case, the abrupt severing of ties between Antonio, Emilio, and Rosario can be attributed to the blurring of class lines and the ways in which members of both classes express their origins. For example, Rosario causes a minor automobile accident, when, in a fit of rage, she breaks suddenly in traffic: Observed at the website www. The deception injects an element of violence into a web of relationships that finds its full expression in the metonym of the shears. The narrating of violence represents a sensuous, corporeal experience for both: For instance, descriptions of Rosario continually foreground a mysterious, almost supernatural nature. As opposed to a tool employed within the productive trade of dressmaking, the dormant scissors are eventually reactivated as a tool within the trade of assault, disfigurement, and murder. It also relies on the cultural context of a bygone era in which traditional was synonymous with normative. Along these lines, the novel goes to great lengths to cultivate this social aspect of her erotic appeal. The frequent depiction of Rosario "at the wheel" while her male companions are passengers "along for the ride" illustrate the passive posture that these men assume in the company of Rosario. We soon discover that Rosario had used the same technique in which eventual victims are placed in an unsuspecting, defenseless position through sexual seduction:
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