By Maria Antònia Oliver-Rotger
Of curiosity to proficient readers attentive to mixed textual and cultural ways to Chicano/a literature and literature ordinarily, Battlegrounds and Crossroads weaves in a number of severe and theoretical threads to inquire into the connection among intimate and public areas in Chicana literature. with no claiming the borderlands as specific of the Chicana/o mind's eye, this e-book recognizes the significance of this metaphor for bringing to view a extra intercultural usa, permitting it to develop into inflected with the particularity of every textual content. The analyses of Chicana fiction, drama, and autobiography discover the development of id in the course of the illustration of social house and the transformation of literary house. For dialogue of a diacritical territory this quantity attracts on a interdisciplinary perform that allows the adventure from the main intimate areas to the main public areas of modernity, in order that the classy textual content yields its wisdom of the contingent old situations of its construction in fabric and existential phrases. the obvious regionalism and localism of this literature is not anything yet a mirrored image of the connection among the neighborhood and the worldwide, the personal and the general public, the private and the political, the classy and the ideological, the subversive and the mainstream. each one textual content stands on its own whereas it additionally reaches out to the sociopolitical imaginary for interpretation via an interdisciplinary method that's critical to do justice to a politicized aesthetics.
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Extra resources for Battlegrounds and Crossroads: Social and Imaginary Space in Writings by Chicanas
Renowned critics such as not only have followed the method of cultural studies, but have also gone a long way towards the refashioning of this still young discipline. ” Her study focuses on the ways nineteenth-century black women writers confronted and transformed ideologies of womanhood that excluded them from what was conventionally understood as a “woman” in the United States. She describes the reconstruction of these ideologies in their novels so as to highlight the existence of alternative discourses about womanhood that adjusted to black women’s particular material conditions.
She addresses this struggle as a member of a collectivity and as an individual. On the one hand, she is out to make her readership conscious of the history of oppression of the Mexican-American community and of Mexican-American women; on the other, she describes the effects of such oppression on herself, a lesbian who has lived inbetween two cultures and two genders. Her position, as she says repeatedly, is that of mediator. She is someone who speaks for herself as both subject (a writer, an academic, an author) and as object (descendant of a Texan family of farmers whose territories were expropriated, a Chicana, a lesbian): “I am visible—see this Indian face—yet I am invisible.
In the context of drama, Susan Bassnett has described linearity as reproducing a “masculine” way of understanding personal development and social relations (“Towards” 462). These feminist critics view the openness of form and multiplicity of voices as a trace of a “feminine” or “feminist” aesthetics. I would not go as far as to claim that decentered, open forms are exclusively feminine or 34 feminist, for open forms characterize many contemporary literary productions, as well as Chicano/a narratives independently of the gender of the author.