International Perspectives on Chicana/o Studies: "This World by Catherine Leen, Niamh Thornton PDF

By Catherine Leen, Niamh Thornton

ISBN-10: 0415833353

ISBN-13: 9780415833356

This quantity examines how the sphere of Chicana/o reports has constructed to develop into a space of curiosity to students some distance past the us and Spain. as a result, the amount comprises contributions through a number of foreign students and takes the concept that of position as a unifying paradigm. As a fashion of overcoming borders which are either actual and metaphorical, it seeks to mirror the variety and variety of present scholarship in Chicana/o reviews whereas concurrently highlighting the various and continually evolving nature of Chicana/o identities and cultures.

Various severe and theoretical techniques are obtrusive, from eco-criticism and autoethnography within the first part, to the function of fiction and visible paintings in exposing injustice in part , to the dialogue of transnational and transcultural trade just about matters as varied because the educating of Chicana/o stories in Russia and the relevance of Anzaldúa’s writings to submit Sept. 11 U.S. society.

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Extra resources for International Perspectives on Chicana/o Studies: "This World is My Place"

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Legler articulates this concept, stating that nature, I argue, has been inscribed in the same way that women’s bodies and sexual pleasure have been inscribed in patriarchal discourse, as passive, interceptive, docile, as mirror and complement. The conceptual links between women and nature suggested by ecofeminists make rewriting one part of rewriting the other. (233) This rewriting of female stories and female bodies comes hand in hand with the rewriting of nature, especially since Mora makes constant analogies 30 Imelda Martín-Junquera between writing and gardening.

The house represents Pat Mora’s mind, the family memories stored in her head, knocking on the doors of imagination in an attempt to come alive, like the house Charlotte Perkins Gilman creates in The Yellow Wallpaper (1899), which stands for the restrained mind of the protagonist. Perkins Gilman has been considered the leader of feminism activism in the United States during the turn of the nineteenth to the twentieth century. This text, condemned to oblivion during the first half of the twentieth century, was recovered by the second wave of feminists in the 1970s.

Thus, Mora’s house is made of words, haunted by Healing Family History/(Her) Story 29 narrators and different discourses of the past mingling and dissenting from those of present times, interrupting and irrupting at ease to contribute to the process of building the house of houses, that is to say, the story of stories: “In my dream house, as in my dreams, we are together, the family spirits, the soul of this adobe” (Mora 1997, 43). What distances Mora from Álvarez or Cisneros in this memoir is her ecofeminist treatment of history following the reconnection with the land that Gloria Feman Orstein contemplates in ecofeminist arts: If the severing of our intimate connectedness to the Earth, the sky, the dead, the unseen, and our ancestors was the accomplishment of the Enlightment, then ecofeminism calls for an endarkenment—a bonding with the Earth and the invisible that will reestablish our sense of interconnectedness with all things, phenomenal and spiritual, that make up the totality of life in our cosmos.

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International Perspectives on Chicana/o Studies: "This World is My Place" by Catherine Leen, Niamh Thornton


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