La cuestión terminológica en torno a los fenómenos de adquisición y aprendizaje de lenguas extranjeras (LE). Los 'lingüismos'

Since the publication of La Prieta (1981) by the Chicana writer Gloria Anzaldúa and Language and woman's place (1995 [1975]) by the North American linguist Robin Lakoff, a large part of the research from sociolinguistics has focused on highlighting the negative connotations of women's language and trying to highlight its positive aspects. In this article I analyze, in the light of the studies proposed by feminist sociolinguistics, the language used in three works by the argentine writer Fernanda García Lao: the novels Amor Invertido (2015), Nación Vacuna (2017) and the poetry book Dolorosa (2017). I begin with a brief review of the trajectory that the studies of the feminist sociolinguist have followed from the sixties to today. Later, I analyze the authoress's works, which are characterized by the abundant use of dysphemisms (offensive language) that breaks social convention. Here I wish to focus on the treatment of sex in García's language. I try to determine how the characterization described in the abundant bibliography on the language of women as normative of the feminine gender is assumed by the writer. In the end, I conclude that García Lao's language is presented as a discursive political strategy that tries to enable another form of openly erotic and provocative feminine poetic language that comes out of the masculine feminine binarism that normalizes individualistic people and ultimately misanthropes. I describe and explain how the authoress's speech is an expression of a dissident feminism that seeks neither the victimization of the feminine nor the relation between post-feminist sexuality and subjectivity, where representations of femininity and female sexuality works to secure the status quo imposed by the neoliberal / consumerist system. And there is more evidence of a marked influence of Chicano feminism that had as one of its greatest exponents the writer Gloria Anzaldúa.