By Maria Antònia Oliver-Rotger
Of curiosity to trained readers attentive to mixed textual and cultural techniques to Chicano/a literature and literature mostly, 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 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 during 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 ancient situations of its creation 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 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 crucial to do justice to a politicized aesthetics.
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Additional info for Battlegrounds and Crossroads: Social and Imaginary Space in Writings by Chicanas
The different conventions and registers within the text as well as the positions and voices that are suitable for a variety of speakers, including the narrator of the novel, the main speaker in an autobiography, or the characters in a play, are determined by certain knowledge conditions. ) genres of discourse or discourse genres (158). ” To privilege the concept of “voice” over the concept of “point of view” frees the critic from the association of the representation of the world through the “consciousness” or “vision” of a personified character or narrator (159).
Era indiferente a muchos valores de mi cultura. No me dejé de los hombres. No fui buena ni obediente. (15) Despite the fact that she has changed, grown more tolerant, and now takes from her culture whatever values are useful to her, she keeps fighting: Ya no sólo paso toda mi vida botando las costumbres y los valores de mi cultura que me traicionan. También recojo las costumbres que por el tiempo se han probado y las costumbres de respeto a las mujeres. But despite my growing tolerance, for this Chicana la guerra de independencia is a constant.
One has to fight for something positive to emerge out of the contradictory blend of cultural discourses that hums in one’s head: 55 Because, I a mestiza continually walk out of one culture and into another, because I am in all cultures at the same time, alma entre dos mundos, tres, cuatro, me zumba la cabeza con lo contradictorio. Estoy norteada por todas las voces que me hablan simultáneamente. (77) The mestiza takes everything in: “nothing is thrust out, the good the bad and the ugly, nothing rejected, nothing abandoned” (79).