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

By Maria Antònia Oliver-Rotger

Of curiosity to trained readers aware of mixed textual and cultural ways to Chicano/a literature and literature often, Battleground and Crossroads weaves in numerous serious and theoretical threads to inquire into the connection among intimate and public areas in Chicana literature. with no claiming the borderlands as particular of the Chicana/o mind's eye, this booklet 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 identification in the course of the illustration of social house and the transformation of literary area. 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 ancient situations 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 non-public 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 technique that's fundamental 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 (Portada Hispánica 15)

Example text

There is no doubt that, as we will see in chapter 2, indigenism, which went hand in hand with the Chicano activism of the 60s, bypassed differences within the Mexican-American community. Yet, I believe that to reduce indigenist images and myths to romanticized views of history is to ignore their potential as critical paradigms in the social context in which they appear and 57 in which Anzaldúa and other writers inscribe them. 19 Anzaldúa does not represent reality as it really is; she creates a whole new signification out of a variety of revised, appropriated Mexican signifiers.

See Williams’ The Country and the City (1973). See also Williams’ The Long Revolution (1961). 37 I intend the borderlands to be a similar unifying chronotope eliciting the structure of feeling we may perceive by the Chicana writings I have chosen to discuss. The image of the borderlands refers to the crossbreeding of traditions, cultures and codes that are present in these works and from which new spatial concepts, political projects, and literary forms emerge. I read these works by Mexican-American women as staging various confrontations of power that correspond to an awareness of the borderlands as a physical and psychological place of contradiction and resistance.

These works integrate popular knowledge, culture, and folklore, as well as personal and collective history, thus transforming and hybridizing the textual space of Western forms such as the autobiography, the dramatic piece, the novel, or the short story. The ideological approach I have applied to the study of literature has placed me, as I have said above, in a borderland position between the text and the world. By integrating the disciplines of history, sociology, literary analysis, cultural history, mythology, and anthropology for the reading of these works, I 35 have not only transgressed the limits between the world and the text, but also between disciplines and critical theories (Marxist, feminist, post-colonial).

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