Download Citation on ResearchGate | On Dec 1, , Dolores Flores-Silva and others published “La bella durmiente” de Rosario Ferré y su. “One of the lucid strategies that Ferré employs to challenge the conventional misrepresentation to introduce the “La bella durmiente”. Ferre often images her female characters as dolls (decorative, passive, powerless, without voice or will), and the English translation of Papeles.

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rockthecomps: Stories from “Papeles de Pandora”- Rosario Ferré (s)

Harm to minors, violence or threats, harassment or privacy invasion, impersonation or misrepresentation, fraud or phishing, show more. Summary of Rosario Ferre’s “Bella Durmiente”? Can anyone tell me who the main characters are, and what the main plot is? frere

Are you dutmiente you want to delete this answer? Ferre often images her female characters as dolls decorative, passive, powerless, without voice or willand the English translation of Papeles de Pandora is entitled The Youngest Doll, after one of the best known of the narratives. The one that concerns me here, “Sleeping Beauty” “La bella durmiente” has been much discussed, but little attention has been focused upon its form and structure.

The resulting friction produces sparks. Discordant discourses and dissonant tones highlight conflicts.


Different perspectives upon the same events throw into high relief the chasms that cerre contrasting views. The structural fragmentation of the narrative and absence of dialogue underscore the lack of true communication among the characters. As Diana Velez has observed, Maria de los Angeles “has only private internal speech, the speech of dreams” 80n8.

Others talk and write about her; she is reduced to silence and marginalized. The two letters she writes do not appear over her signature. The following pages examine how letters from the protagonist, the director of the convent school dufmiente she is educated, her father, and her husband clash with one another and with social columns, newspaper clippings, captions written in a photo album, a birth announcement, snatches of the protagonist’s interior monologue, and comments by an omniscient narrator.

Each of the three divisions of the story–“Coppelia,” “Sleeping Beauty,” and “Giselle”–takes its title from a famous ballet, a nonverbal text that draws inspiration from a written one: In Ferre commented on her ambivalence with respect to classical music, stating that while she recognized the beauty of compositions by Beethoven, Chopin, Schumann, and Liszt–all men–she resented the fact that she was expected to listen silently, respectfully, to the old masters without being allowed to respond to what they were saying “Una conciencia musical” The role of passive, worshipful listener was alien to her.

Equally alien, in all likelihood, was the role imposed by classical ballets, based upon male-authored librettos and music, traditionally choreographed by men and with male-designed sets and costumes. Ferre’s protagonist improvises her own choreography, to the surprise and even consternation of certain members of her community. I am sorry I don’t know about this.


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La bella durmiente by Rosario Ferré

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