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Material Objects as Promoters of a Resistant Subjectivity: The Creation of an Alternative Space in Chimamanda Ngozi Adichie's "Imitation"

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APA

Fuentes Antrás, Francisco (2021-12 ) .Material Objects as Promoters of a Resistant Subjectivity: The Creation of an Alternative Space in Chimamanda Ngozi Adichie's "Imitation".

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Fuentes Antrás, Francisco. 2021-12 .Material Objects as Promoters of a Resistant Subjectivity: The Creation of an Alternative Space in Chimamanda Ngozi Adichie's "Imitation".

https://hdl.handle.net/20.500.12080/40372
dc.contributor.author Fuentes Antrás, Francisco
dc.date.accessioned 2024-05-08T13:26:34Z
dc.date.available 2024-05-08T13:26:34Z
dc.date.created 2021-12
dc.date.issued 2021-12
dc.identifier.uri https://hdl.handle.net/20.500.12080/40372
dc.description.abstract This article explores how Nkem, the female character in Chimamanda Ngozi Adichie's short story "Imitation" (2009), builds a resistance space from where she exalts her subjectivity and rebels against an oppressive marriage that voids her. Her physical and mental paralysis is mainly triggered by an absent and distant husband called Obiora, who forces his wife into a materialization process that translates into Nkem being gradually infected by the fakeness and voiceless condition of the art pieces that he brings home from Nigeria. Consequently, she is commoditized and turned into one more imitational art piece in Obiora¿s collection, stressing her immobility and dependence on her husband. However, the originality and uniqueness of the African Ife bronze head that Obiora brings with him at the end of the story trigger Nkem¿s reflection, leading her to also recognize her own value. Through the projection of her subjectivity on the original African art piece, Nkem takes advantage of her in-betweness as a Nigerian in the United States and her house¿s interstitial status to create a ¿third space¿ where she can redefine herself outside the patriarchal ideology that Obiora epitomizes, as well as retrieve the African identity she had lost during the reterritorialization process undergone in her white American neighborhood. The redefinition of her relationship with the surrounding African items and the consequent appropriation of the space that this implies empowers her, since ¿territoriality is a primary geographical expression of social power¿ (Sack 5) and our identities and self-definitions are inherently territorial (Agnew 179). Keywords resistance space; Adichie; third space; identity; materialization process es_ES
dc.format application/pdf es_ES
dc.language eng es_ES
dc.rights CC-BY es_ES
dc.rights.uri http://creativecommons.org/licenses/by/4.0/deed.es es_ES
dc.title Material Objects as Promoters of a Resistant Subjectivity: The Creation of an Alternative Space in Chimamanda Ngozi Adichie's "Imitation" es_ES
dc.type info:eu-repo/semantics/article es_ES
dc.rights.accessrights info:eu-repo/semantics/openAccess es_ES
dc.identifier.location N/A es_ES


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