By Maria Antònia Oliver-Rotger
Of curiosity to knowledgeable readers conscious of mixed textual and cultural methods to Chicano/a literature and literature as a rule, Battlegrounds and Crossroads weaves in numerous 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 publication 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 enables the adventure from the main intimate areas to the main public areas of modernity, in order that the cultured textual content yields its wisdom of the contingent old conditions 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 non-public and the political, the cultured 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 info for Battlegrounds and Crossroads: Social and Imaginary Space in Writings by Chicanas
In an essay on Theodor Adorno, Eagleton comments on the critical power of the absences in the work of art: It is this internal slippage or hiatus within the art work, this impossibility of ever coinciding exactly with itself, which provides the very source of its critical power, in a world where objects lie petrified in their monotonously self-same being, doomed to the hell of being no more than themselves. ” According to this critic’s definition, political criticism should be based upon the analysis of the text’s intertextual relations to the historical moment in which it has been produced, to the hierarchies and social codes of gender, race, class, religion it incorporates.
Yet, she observes that the novel tends to manifest its “writtenness,” while the short story is usually more valued in Third World countries and in less developed communities where literacy is not the norm. Open over closed forms, conflict over resolution, fragmentation over unity, characterize these fictional writings which are partly autobiographical, testimonial and documentary. These forms oppose the linear narratives that, in the introduction to Life/Lines, Bella Brodzki and Celeste Schenck have seen reifying the concept of a transparent and coherent subject (1-15).
As I will argue in chapter 1, Anzaldúa’s work and other works by Chicanos and Chicanas are a product of postmodernity but they do not necesssarily fit into the aesthetic movement of “postmodernism” although they may certainly share some of its characteristics. 53 any of them. The following passage illustrates her ambiguous position: As a mestiza I have no country, my homeland cast me out; yet all countries are mine because I am every woman’s sister or potential lover. ) I am cultureless because, as a feminist, I challenge the collective cultural/religious malederived beliefs of Indo-Hispanics and Anglos; yet I am cultured because I am participating in the creation of yet another culture, new story to explain the world and our participation in it, a new value system with images and symbols that connect us to each other and to the planet.
Battlegrounds and Crossroads: Social and Imaginary Space in Writings by Chicanas by Maria Antònia Oliver-Rotger