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Patriarchal Sexuality of the Internalized Document in Corregidora

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  1. Introduction
  2. The difficulty that Ursa encounters
  3. The forced incorporation of truth
  4. Usra's dream sequences
  5. The repetition of the historical phantoms
  6. Works cited

The adage ?history repeats itself,? like many adages, sometimes seem disingenuous; they are neatly packaged concepts that lack any definitive details that would give one a context to consider them properly. In Corregidora, there is an expansion of this idea of history and repetition. Gayl Jones uses a variety of catalysts to examine how the past manifests and affects characters in the present. These catalysts ? the historical, biological, and reproductive contexts ? tend to focus on the unwanted and uncalculated consequences of internalization.

Keywords: Ursa, Ann duCille, Ethical Ambiguities, Living the Legacy

[...] The motifs of blood, seed, and making generations are evidence of the transparency of the internalized document. The blood and seed no longer are mere biological components, but icons of the internalized documents, where they are immutable and natural. The forced incorporation of the Corregidora stories causes emotional side effects within all the generations; by makings slaves of Ursa's great grandmother and grandmother, Corregidora destroys their ability to love. The purpose of a female is be fucked,? (Jones 76) and because of this, the documents Ursa is forced to incorporate play out in her contemporary life. [...]

[...] She chooses to have an encounter with Mutt that is yielding, rather than submissive. This ability to yield in discovering her great grandmother's resistance to Corregidora breaks the cycle of the historical phantom, and thus the internalized document is no longer adopted, but simply existent. The repetition of the historical phantoms in Corregidora shows the traumatic effects of forced internalization. Though Ursa has a voice through her singing, off stage she can only make vague references to concepts she is able to address on stage. [...]

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