Oscilaciones estéticas en la narrativa de cuatro autoras sudamericanas: Norah Lange, María Luisa Bombal, Armonía Somers y Clarice Lispector.

AESTHETIC OSCILLATIONS IN THE NARRATIVES OF FOUR FEMALE AUTHORS FROM THE SOUTHERN CONE: NORAH LANGE, MARÍA LUISA BOMBAL, ARMONÍA SOMERS Y CLARICE LISPECTORMy dissertation is an examination of the work of several key women writers from the Southern Cone (Argentina, Chile, Uruguay, and Brazil), and an evaluation of the literary criticism that affected women's writing from the 1930s to the 1980s. It therefore questions the critical establishment and addresses a range of problems related to aesthetic values. It deals with several kinds of writing -by both female authors and male authors to whom they are compared and contrasted- within the context of the tradition to which they belong. What is significant is that each of these women writers (Norah Lange, María Luisa Bombal, Armonía Somers, and Clarice Lispector) has at least two modes of writing, and both of them are examples of "women's writing" / "feminine writing", but not as fixed essences. What I have undertaken to identify in their narratives is a range of problems related to aesthetic values and these problems are more evident when viewed from the perspective of gender. In other words, how do they stand in relation to the aesthetic values of the Avant-garde? On the one hand, their writing embodies the aesthetic values promoted by the Avant-garde. Yet they also write narratives that are not considered to display these aesthetic values (e.g., melodramatic ones). Thus, there are two groups of issues to be considered. On the one hand, writing centered on Vanguard aesthetic values, and on the other hand, writing on the margins of Vanguard aesthetic values, including the melodramatic on three levels (as genre, as theme, and as a form of cultural agency).Therefore, within institutional spaces such women's writing either does or does not become legitimated, creating a kind of oscillation between these two trends. This phenomenon has become even more pronounced as the market in the field of culture has grown. In summary, both the common ground and the zones of tension between gender and aesthetic values have become increasingly visible as these values have been constituted and consolidated within the vanguard and as the market in the field of culture has grown. It is from this perspective that I analyze the narrative works of these four twentieth-century women authors