Battlegrounds and Crossroads: Social and Imaginary Space in by Maria Antònia Oliver-Rotger

By Maria Antònia Oliver-Rotger

Of curiosity to trained readers attentive to mixed textual and cultural techniques to Chicano/a literature and literature usually, Battlegrounds and Crossroads weaves in numerous severe and theoretical threads to inquire into the connection among intimate and public areas in Chicana literature. with out claiming the borderlands as particular 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 turn into inflected with the particularity of every textual content. The analyses of Chicana fiction, drama, and autobiography discover the development of id throughout the illustration of social area and the transformation of literary area. 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 cultured textual content yields its wisdom of the contingent ancient conditions of its construction in fabric and existential phrases. the plain 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. every one textual content stands on its own whereas it additionally reaches out to the sociopolitical imaginary for interpretation via an interdisciplinary method that's vital to do justice to a politicized aesthetics.

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11 Borderlands describes the need for a “safe” communal place where the inhabitants of those margins can live without being the victims of their difference. It envisions and constructs a place where one can fight against sexism, racism, and other exclusionist cultural practices. The politically committed speaker denounces the silence that Anglo culture and history has imposed on Mexican-Americans. The silence that male-dominated cultures have imposed on women, that heterosexual binaries impose on homosexuals, that white supremacy imposes on other groups who have been racialized12 and stereotyped, that unequal distribution of wealth imposes on all peoples.

The occupation of Texas and what is now the Southwest of the United States began around the 1820s and culminated with the Treaty of Guadalupe Hidalgo (1848). By this treaty Mexico was stripped of the territories that today comprise the states of California, Nevada, Arizona, Utah, New Mexico and half of Colorado. S. S. is one of violent clashes, poverty, and displacement. S. S. S. in 1848, and to Native Mexicans' virtual abandonment of the region in the 1850s. Anzaldúa tells us that the industrialization of the border following land expropriations and bringing about the establishment of agribusiness corporations and factories in the 1880s, accounts for the massive presence of a poor Mexican migrant working class in this area.

The death of the subject, mimicry, parody, desire as nostalgia, and the absence of history and of critical intent are some of the characteristics that Jameson mentions about postmodernist art. 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.

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