THE AVATAR IN PANAMA - Theses - Flinders University

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3.1 Shoes and Mirrors: Images of Doubling The Avatar in Panamaque hacen hoy en día en las películas” is imagined in a paragraphwhich mixes possessive pronouns: “Volvería a sentirse atractiva consus cabellos negrísimos cayendo sobre mis senos (que ya no tendríanpor qué avergonzarse de estar fláccidos, de casi no estar),cubriéndolos. Y la tristeza de mis ojos se alumbraría con el brilloentusiasta de los suyos”.Throughout the narrative there is a connection between thepast and present: “pero sus ojos y la finura de las manos (de las míasen aquel tiempo) siguen impresionando a las visitas” (41). 42 The irony inthis sentence is apparent as that which constitutes the past (de las míasen aquel tiempo) is really coming from the actual present day narrator,the daughter, and that which constitutes the present is the description ofthe features of someone, her mother, who no longer exists. Thisconstant fusion of the two female characters simultaneously evokesdoubling, separateness and unity.Vanity, Fear, and LoathingThe traditional fear of the double is reflected in his fear ofmirrors which reappears in many of the included stories and aboutwhich Borges wrote in poems and short stories. 43 In fact, intertextualreferences are made to Borges’ phobia in Jaramillo Levi’s “Historia deespejos” (CC), a story that combines narcissism and catoptrophobia onthe part of its main character Ricardo.Like Hoffmann’s tale, “Historia de espejos” reflects the differentlevels of narration: Aníbal retrospectively tells a story of a conversationbetween he and his friend Rodrigo; the actual dialogue between the twocharacters during which Rodrigo introduces the theme of mirrors; andRodrigo’s subsequent retelling of his experience of seeing himselfreflected in the mirrors at the home of his then childhood friend turnedwife, Juanita, and the consequence of that experience. 44Rodrigo’s hatred of mirrors is made clear from the outset of thestory so much so that Aníbal comments: “¡Ya sé! Te estás apoyando enBorges. Recuerdo vagamente que abominaba de los espejos porque, aligual que la cópula, permiten al ser humano reproducirse”. 45 Rodrigo42 Jaramillo Levi, “Cuando miro su (mi) fotografía”, Duplicaciones.43 “Yo conocí de chico ese horror de una duplicación o multiplicación espectral de larealidad, pero ante los grandes espejos”; Borges, “Los espejos velados”, Obrascompletas 15-16; “Yo, que sentí el horror de los espejos / No sólo ante el cristalimpenetrable / Donde acaba y empieza, inhabitable / Un imposible espacio dereflejos”, “Los espejos”, OC3 61-63.44 Dina Carmela De Luca, “Caracol y otros cuentos: Exposición artística de la funcióndel escritor”, La confabulación creativa 165-175. 172.45Jaramillo Levi, “Historia de espejos” (CC) 43.176
3.1 Shoes and Mirrors: Images of Doubling The Avatar in Panamathen begins his explanation by way of a story from his youth. He isinvited to Juanita’s house and notices that the foyer is lined with:tantos espejos, de todas clases y tamaños […]“en ese pasillo uno podía verse reflejado desdediversos ángulos, tanto de cerca como de lejos,sin distorsión alguna, reproducciónaterradoramente fiel de nuestro exacto serexterior, y entender cómo íbamos a serpercibidos para siempre […] toda la casa eraasí, pletórica de espejos, siempre al acecho,mirándonos mirarnos. Era imposible escapar asu asedio, fingir que no estaban, mirar a otraparte” (47).He refers to “aquellos enigmáticos instrumentos de vigilancia”and to his neighbourhood “como necio espejo de sí mismo, nosdevolvía las imágenes de todo lo que éramos y […] lo que jamáshubiéramos querido llegar a ser” (48, 46). 46Rodrigo confesses:A tal grado, empecé a detestarlos después [losespejos], a rechazarlos, que los fui quitando demi entorno, y hoy sólo existen en la memoria.En mi propia casa, por supuesto, no hayninguno. Y procuro no ir a sitios en los quepudieran ser una molesta presencia. ¿Y sabespor qué los llegué a odiar tanto? Porque laimagen que me devolvían coincidió con unafrase que, maldita sea la hora, me dijo unmendigo con el que tropecé en la calle a lasalida de la fiesta […] “!Tiene cara de muerto!”(48). 47In this story within a story, the surprise ending of “Historia deespejos” has Ricardo as his own double with a surgically altered face46 This metaphorical use of the mirror has a long standing tradition and is used byJaramillo Levi in “Recordando desde el tedio” in which memories are compared toopaque mirrors: “Los recuerdos de ciertas gentes son como espejos opacos, lasimágenes que acuden a la superficie no hacen más que enturbiar el conjunto” (96);and in “Mar afuera” (CB) referring to the sea as an “espejo opaco en ciertas áreas(34).47“Historia de espejos”, Caracol y otros cuentos, (México: Alfaguara, 1998). This is theexact line which appears in Jaramillo Levi’s poem “Profecía Latente”; see the epigraphon 162.177
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To my other half
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2.3 Dobles and Duplos: Latin Americ
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Psychiatry’s fugues are literatur
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I certify that this thesis does not
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Introducing the Double:The Seductiv
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1.1 Double, Double, Toil and Troubl
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1.2 Fantastic Psychoanalysis and th
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2.1 The North American Double The A
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2.2 Modernismo and its Masters: Dar
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3.3 Reinventing the Double The Avat
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Concluding Remarks: the Paradox in
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Concluding Remarks: the Paradox in
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Appendix A1:Double-Speak: Interview
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Appendix A2:Dentro de los zapatos:
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Appendix B: Enrique Jaramillo Levi:
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Appendix C:Thematic Taxonomy of Dou
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List of Works CitedThe Avatar in Pa
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