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Multicultural Literature: An Essay. (2000). Multicultural Perspectives l(2), 33-37
Multicultural Literature: An Essay. (2000). Multicultural Perspectives l(2), 33-37
Strengths and weaknesses of the postcolonial literary theory
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The world is rapidly changing, globalization and transnational interconnections between nations’ economies, the flow of people, goods, and ideas have sparked a wake of scholarship and ethnographies that try to record these rapid changes. Yet, globalization has is reshaping the organization of transnational communities and when scholarship focuses on the economic impact of globalization or immigration , scholars tend to lose sight of the people caught up in these rapid changes (Chavez 2013 ). Communities that do not belong to the hegemonic movements are caught up in other components of transnational problems attracting the attention of researchers’ interested primary on economic roles, while neglecting to focus on sociocultural aspects of these …show more content…
According to Dirlik, “transnational literatures present a challenge not only to historical ways of thinking, but also to the ways we have organized the study of the world in terms of nations, areas and regions” (Dirlik 2002:209). Transnational identities provoke a reconceptualization of the understanding of identities in relation to being attached to just one geographical location, but does not ignore borders, for undocumented immigrants in the U.S. not being able to legal cross the border is a fundamental marker of their identity (Chavez 2013). When autobiographic due to their subjectivity serve similar purpose of ethnographies, it allows writers from non-hegemonic groups to communicate their experiences while conveying anthropological information (Dirlik 2002:218).This correlated with American anthropologist, Paul Stoller, argument that personal ethnography serves as a bridge that connects two words and interweave the distant lives of others to more familiar (Stoller 2009). Understanding narratives written by conscious mestizas as ethnographic work allows the study of the process of identity formation and their political consciousness that serves as a vehicle of knowledge about their …show more content…
Sandra Cisneros has a longer trajectory, is closely associated with the Chicanx movement and has greatly influenced Grande. Her novel Caramelo (2002) has being used in the study of transnational literature. Caramelo (2002) due to its weaving of storytelling as a way to recovery, reinventing and sustaining the history of the Reyes family through storytelling is an example of decolonized and transnational novel (Szeghi 2014). Juanita Heredia stresses that “Cisneros challenges the perspective of official national culture by legitimizing a mestizo, hybrid culture created in the US/Mexico borderlands, exemplified by the perspectives of Zoila and Lala, who contest condescending attitudes towards them” (Heredia 2007:354). Caramelo (2002) as a transnational novel that gives a voice and validates the identity of those individuals that do not fit into the hegemonic national identities (like Mexican or American). Similarly, Heather Alumbaugh highlights the liminal identity of Cisneros and Lala along with its complexities and due to her in-between-ness she is able to inform her readers about both cultures (Alumbaugh 2010). Cisneros depictions of her identity journeys in her novel and in her memoir serve as ethnographic quests that validate those individuals that share similar
In a story of identity and empowerment, Juan Felipe Herrera’s poem “Borderbus” revolves around two Honduran women grappling with their fate regarding a detention center in the United States after crawling up the spine of Mexico from Honduras. While one grapples with their survival, fixated on the notion that their identities are the ultimate determinant for their future, the other remains fixated on maintaining their humanity by insisting instead of coming from nothingness they are everything. Herrera’s poem consists entirely of the dialogue between the two women, utilizing diction and imagery to emphasize one’s sense of isolation and empowerment in the face of adversity and what it takes to survive in America.
Norma Elia Cantu’s novel “Canícula: Imágenes de una Niñez Fronteriza” (“Canícula: Snapshots of a Girlhood en la Frontera”), which chronicles of the forthcoming of age of a chicana on the U.S.- Mexico border in the town of Laredo and Nuevo Laredo in the 1940s-60s. Norma Elia Cantú brings together narrative and the images from the family album to tell the story of her family. It blends authentic snapshots with recreated memoirs from 1880 to 1950 in the town between Monterrey, Mexico, and San Antonio, Texas. Narratives present ethnographic information concerning the nationally distributed mass media in the border region. Also they study controversial discourse that challenges the manner in which the border and its populations have been portrayed in the U.S. and Mexico. The canícula in the title symbolizes “The dog days of 1993,” an intense part of summer when the cotton is harvested in South Texas. The canícula also represents summer and fall; also important seasons and concepts of that bridge between child and adulthood. She describes imaginative autobioethnography life growing up on ...
Sandra Cisneros was born in Chicago and grew up in Illinois. She was the only girl in a family of seven. Cisneros is noted for her collection of poems and books that concentrate on the Chicano experience in the United States. In her writings, Cisneros explores and transcends borders of location, ethnicity, gender and language. Cisneros writes in lyrical yet deceptively simple language. She makes the invisible visible by centering on the lives of Chicanos--their relationships with their families, their religion, their art, and their politics.
Martinez, Demetria. 2002. “Solidarity”. Border Women: Writing from la Frontera.. Castillo, Debra A & María Socorro Tabuenca Córdoba. Minneapolis: University of Minnesota Press, 168- 188.
of the native tongue is lost , certain holidays may not be celebrated the same , and American born generations feel that they might have lost their identity , making it hard to fit in either cultures . Was is significant about this book is the fact it’s like telling a story to someone about something that happened when they were kid . Anyone can relate because we all have stories from when we were kids . Alvarez presents this method of writing by making it so that it doesn’t feel like it’s a story about Latin Americans , when
Caramelo has been quite an interesting novel. It describes a Hispanic family to the tee. Sandra Cisneros chose her title perfectly for this book. Life’s hardships and possibilities are explored throughout this fascinating novel.
Growing up in two cultures, Sandra Cisneros witnessed the major impact of poverty and racism (Norton Anthology 1587). Using literature as an outlet, Cisneros wrote her first piece of literature at age ten (Norton Anthology 1587). The best lessons come to a person once the lesson is experienced. She often writes about the intricate dynamics between men and women. Cisneros displays colorful aspects of the Chicana culture. The Chicana culture is a unique combination of North American and Mexican American traditions. The skilled writer dominates her field by explicitly revealing the similarities and differences between the two societies.
Writing in the 20th century was great deal harder for a Chicano then it was for a typical American at this time. Although that did not stop this author, Sandra Cisneros. One of her famous novels, Woman Hollering Creek was a prime example of how a combined culture: Mexican-Americans, could show their pride and identity in this century. In conjunction, gave the opportunity for women to speak their voice and forever change the culture of Latino/a markets. Not only did it express identity/gender roles of women and relationships, but using these relationships to combine the cultures of Mexican and American into a hybrid breed. This novel, should have been a view-point for the future to show that there is more to life than just gender and race. Concluding this, the articles that helps define this is “The Latino/a Canon and the Emergence of Post-Sixties Literature” and “What is called Heaven”.
Globalization, the term used to describe the dominant framework of international relations following the cold war, is affecting many aspects of politics and social experience. This is seen in the Zapatista rebellion and movement in Chiapas, Mexico that has benefited from globalization and transnational support. This paper examines the relationship of transnationalism and social movements with the Zapatistas as a case study. In particular, this paper argues that the Zapatistas are part of the anti-globalization cycle of protest. As a result, they have used the master frame of this cycle of protest and aligned that frame in light of their particular situation. Because this frame was resonant with transnational activists a network of support was formed, which pressures the government from above, increasing the chances of success of a movement. The paper concludes by examining the implications of the Zapatistas for social movement research, with particular regard for Tarrow’s “strong thesis” about movements in a transnational era
The language of Gloria Anzaldua’s “We Call Them Greasers” can be used to disseminate the culturally constructed codes and conventions which influence the realities of both the author, and the poems’ fictional speaker. The poem illustrates the intolerant and brutal nature of border rangers as they sought to rid Mexican border towns of their inhabitants. As well as its language, the subject matter of the poem, too, is telling of the author’s cultural influences, which influence the stance she takes on the subject matter. Anzaldua constructs the poem’s speaker, however, to be a person who holds views which are in staunch opposition to her own. This use of clear contradiction helps readers identify underlying messages meant to be conveyed and understood beyond the text of the poem itself.
The eternal endeavor of obtaining a realistic sense of selfhood is depicted for all struggling women of color in Gloria Anzaldua’s “Borderlands/La Frontera” (1987). Anzaldua illustrates the oppressing realities of her world – one that sets limitations for the minority. Albeit the obvious restraints against the white majority (the physical borderland between the U.S. and Mexico), there is a constant and overwhelming emotional battle against the psychological “borderlands” instilled in Anzaldua as she desperately seeks recognition as an openly queer Mestiza woman. With being a Mestiza comes a lot of cultural stereotypes that more than often try to define ones’ role in the world – especially if you are those whom have privilege above the “others”.
The Chicana/o identity has developed through the history of Mexican-Americans living in the United States. Chicana/o identity is multi-layered and self-identified. Although, it does not have a set definition, I will highlight examples of different forms of representations that helped claimed this identity. Through various examples of Denise A. Segura and Beatriz M. Pesquera article “Beyond Indifference and Antipathy”, “Chicana Identity Matters” article by Deena J. Gonzalez, “Chicano Teatro” article by Jorge A. Huerta, “Their Dogs Came With Them” novel by Helena María Viramontes, and Murals by Judith Baca and David Alfaro Siqueiros, they will illuminate the historic struggle that creates and defines Chicana/o identity. The Chicana/o term has been very complex throughout time as a form of identity. However, Mexican-Americans were given this long history of misrepresentation as being dumb, lazy, inferior, servile, sexualized and/or criminal. One example of it would be the creation of Olvera Street in Los Angeles. In I will argue that through numerous forms of representations, Chicana/o identity is multi-dimensional and has developed through Mexican-Americans life experiences and the influence from the larger white U.S society. Lastly, I will demonstrate this by including the representations of gender, race, citizenship, and class to expose the self-identified Chicana/o identity.
Montoya, Margret E. "Masks and Identify," and "Masks and Resistance," in The Latino/a Condition: A Critical Reader New York: New York University Press, 1998.
The latest official figures indicate that there are now more than 37,000 transnational companies controlling almost a quarter of a million subsidiaries. Ninety per cent or 34,000 are based in industrialised countries. Just over half of their subsidiaries are operating in the Developing World. 56% of the parent corporations have their base in the European Union but only 24% of their subsidiaries operate within European boundaries. The number of multinationals is growing daily and increasingly have a base in the newly industrialised countries.
Using both English and Spanish or Spanglish the author Gloria Anzaldua explores the physical, cultural, spiritual, sexual and psychological meaning of borderlands in her book Borderlands/La Frontera: A New Mestiza. As a Chicana lesbian feminist, Anzaldua grew up in an atmosphere of oppression and confusion. Anzaldua illustrates the meaning of being a “mestiza”. In order to define this, she examines herself, her homeland and language. Anzaldúa discusses the complexity of several themes having to do with borderlands, mestizaje, cultural identity, women in the traditional Mexican family, sexual orientation, la facultad and the Coatlicue state. Through these themes, she is able to give her readers a new way of discovering themselves. Anzaldua alerts us to a new understanding of the self and the world around us by using her personal experiences.