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41796 results in Collections

Page 651 of 2090

  • 23 - Latina Feminist Theory and Writing

  • from Part IV - Literary Migrations across the Americas, 1980–2017
  • Edited by John Morán González, University of Texas, Austin, Laura Lomas, Rutgers University, New Jersey
  • Book:
    The Cambridge History of Latina/o American Literature
    Published online:
    16 February 2018
    Print publication:
    22 February 2018, pp 488-509

  • Summary

    Latina feminist writing has for decades provided critical concepts to innovate and transform feminist theory in the United States and beyond. While Latina literature has proliferated over the past forty years, this essay looks at key writers beginning from the 1980s to the present whose work has intervened in the field of feminist theory although their contributions to the field are not always recognized. In the 1970s and 1980s, women of color were in the process of defining them­selves, asserting their agency, and building their own intellectual traditions. The publication of Cherríe Moraga and Gloria Anzaldúa’s This Bridge Called My Back (1981) and Gloria Hull, Patricia Bell Scott, and Barbara Smith’s All the Women Are White, All the Blacks Are Men, but Some of Us Are Brave (1982) set out to expand the definition of feminist to make this analysis relevant to women of color in the United States. These texts sought a signifier, a self-representation that would underscore women’s multiple subjectivities of race, class, sexuality, and gender, generating a theoretical space to critique sexism, homophobia, a gendered analysis of history, politics, institutionalized racism and economic exploitation. Out of their subordination as Latinas and their exclusion from both the male-dominated ethnic studies movements and the white-dominated women’s movements, Chicanas and Latinas sought to create spaces to articulate a feminist consciousness as members of diverse national groups, and as pan-ethnic Latinas, while also articulating political solidarity between Third World women in the United States and women activists south of the border. This chapter looks specifically at Latina and Chicana writers whose writings, essays, poetry and theatre are the foundation of Latina feminist theoretical interventions.

  • Introduction

  • Edited by John Morán González, University of Texas, Austin, Laura Lomas, Rutgers University, New Jersey
  • Book:
    The Cambridge History of Latina/o American Literature
    Published online:
    16 February 2018
    Print publication:
    22 February 2018, pp 1-30
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  • 10 - Narratives of Displacement in Places that Once Were Mexican

  • from Part II - The Roots and Routes of Latina/o Literature
  • Edited by John Morán González, University of Texas, Austin, Laura Lomas, Rutgers University, New Jersey
  • Book:
    The Cambridge History of Latina/o American Literature
    Published online:
    16 February 2018
    Print publication:
    22 February 2018, pp 216-231

  • Summary

    This chapter maintains that the United States’ westward expansion into the greater southwest dispossessed Mexicans living in the region, creating their sense of deterritorialized alienation—the haunting feeling of not belonging in a place that was once home. Mexican American writers resist such displacement through narratives that express their right to civic equality in the United States and that re-imagine their belonging within the U.S. Narratives of displacement thus map the cultural changes that undergird Mexican American dispossession, including personal victimization and disenfranchisement; structural racism in laws and local authority; and language transition from Spanish to English. However, especially at the turn of the twentieth century, Mexican American cultural production, most notably by women, critique dispossession and disenfranchisement through writings as varied as editorials, political poems, novellas, and novels that reimagine Mexico and Mexicans back into the very places from which they had been dispossessed.

  • 21 - Latina/o Theatre and Performance in the Context of Social Movements

  • from Part III - Negotiating Literary Modernity
  • Edited by John Morán González, University of Texas, Austin, Laura Lomas, Rutgers University, New Jersey
  • Book:
    The Cambridge History of Latina/o American Literature
    Published online:
    16 February 2018
    Print publication:
    22 February 2018, pp 452-466

  • Summary

    The piece opens with a summary pre-history of the mostly regional, local character of Latino theater and performance, and the often Spanish-only or bilingual registers of those practices, which set the stage for the more prominently English-language, nationally scaled, practices emerging in the mid-twentieth century. It traces those emerging practices along the parallel and intersecting tracks of traditional theater and experimental performance-art practices that exerted significant impact on the more dominant theatrical forms. The piece also traces this cultural history’s powerfully dialectical relationship with political and social histories: of civil rights empowerment against racial, sexual and class based injustices, and of movements of resistance and protest against a violently dominant political order. It also tells the history of intellectual movements in Latino theater and performance studies that shaped the critical knowledge reflected here of the practices defining US Latino theater and performance in the twentieth century and after

  • 30 - Staging Latinidad and Interrogating Neoliberalism in Contemporary Latina/o Performance and Border Art

  • from Part IV - Literary Migrations across the Americas, 1980–2017
  • Edited by John Morán González, University of Texas, Austin, Laura Lomas, Rutgers University, New Jersey
  • Book:
    The Cambridge History of Latina/o American Literature
    Published online:
    16 February 2018
    Print publication:
    22 February 2018, pp 621-635

  • Summary

    This essay centers the concept of performance through the discourses of latinidad and neoliberalism and opens with a brief discussion of a Javier Téllez performance intervention along the US-Mexico border, One flew over the Void. In doing so, it calls into question borders and how they are constructed or upheld by neoliberal economic and social regimes. It is a starting point to think about a significant number of performative artistic practices since the 1990s produced by Latinas/os, or from within the discourse of critical Latina/o studies, that interrogate neoliberalism. Moving beyond the geography of the border, another site examined is body that has been gendered female and is marked as latina. Focusing on works by Nao Bustamante, Coco Fusco, Lorena Wolffer, and Astrid Hadad, the article pays attention to embodied performances that can also be described as feminist and queer interrogations of neoliberalism and that move within and through a transnational circuit. In a sense site-specific work on and about the border serves as a stage for pushing our understanding of latinidad, which is not solely constituted through the experiences of Latinas/os in the United States, but always in relation to what is happening across borders and throughout the hemisphere and, in many instances, via the body of women.

  • 26 - Poetics of the “Majority Minority”

  • from Part IV - Literary Migrations across the Americas, 1980–2017
  • Edited by John Morán González, University of Texas, Austin, Laura Lomas, Rutgers University, New Jersey
  • Book:
    The Cambridge History of Latina/o American Literature
    Published online:
    16 February 2018
    Print publication:
    22 February 2018, pp 549-560

  • Summary

    Continuous growth in the Latina/o population in the United States incites much of the reactionary politics of this new century, as Latinas/os are poised, by virtue of demographic trends, to form the numerically largest population group in the country by 2050. Having surpassed the African American population to reach “majority minority” status in the early 2000s, Latinas/os are still plagued by accusations of illegality and criminality in an atmosphere charged by twenty-first century fears of terrorism. The Latina/o poetic production, now well-integrated into the literary fabric of this country, constitutes a rich legacy and the promise of an ever abundant poetic presence. Examining the past, present and future poetic output allows for a sweeping overview of the poetics of the “majority minority.” An overview of the past literary production and an assessment of current trends, most notably in anthologies, offer evidence of a rich Latina/o literary heritage, while an examination of contemporary institutions and poetic output offers a vision useful to all as we grapple with our contemporary realities. Ultimately the poetics of the “majority minority,” marked by linguistic and cultural signifiers and with its rich history and political presence, contributes to the literary landscape of the United States

  • 3 - The Tricks of the Weak

  • from Part I - Rereading the Colonial Archive
  • Edited by John Morán González, University of Texas, Austin, Laura Lomas, Rutgers University, New Jersey
  • Book:
    The Cambridge History of Latina/o American Literature
    Published online:
    16 February 2018
    Print publication:
    22 February 2018, pp 74-92

  • Summary

    The vast Seventeenth-Century body of work by Sor Juana Inés de la Cruz made her renowned as the "Tenth Muse of America" but has also, from the moment of its publication, transformed her into a generative model for critics and artists. Sor Juana intensely pursued an intellectual life outside the constraints of marriage and reproduction, bringing her into direct conflict with the structures of power in her society and requiring her to hone what contemporary readers recognise as subaltern strategies for survival. Thus, Sor Juana has become a prototype for Latina artists and critics responding to the legacies of colonialism and patriarchal institutions. This chapter traces the development of Sor Juanian studies and examines contemporary Latina art simultaneously, in order to see how the nun's legacy has affected both reflection and praxis. From queering temporality to questioning the possibility of translation, radically contextualising the material circumstances of the colony to insisting on the power of philosophical concepts, work inspired by Sor Juana continues to refute attempts to categorize, providing instead alternative genealogies for Latina studies and art.

  • 25 - Latina/o Life Narratives

  • from Part IV - Literary Migrations across the Americas, 1980–2017
  • Edited by John Morán González, University of Texas, Austin, Laura Lomas, Rutgers University, New Jersey
  • Book:
    The Cambridge History of Latina/o American Literature
    Published online:
    16 February 2018
    Print publication:
    22 February 2018, pp 532-548

  • Summary

    In this essay, I analyze the specific genre innovations employed by Latin@ authors to render visible both individuals in the United States and communities with transnational ties to Latin America and the Caribbean as they employ various autobiographical strategies to establish a self-narrated tradition that ultimately leads to the making and remaking of an entire corpus of particularized identity discourses. I compile a case study on formal evolutions in Chican@ autobiographical discourses as informed by the field's theoretical frameworks to show how reimagined self-referential genres negotiate entry into global modernity via modern capitalism, the nation-state, and the diasporas that resulted from these conjunctions. The persistency of these genre innovator-activists, those who were willing to look across racial, cultural, sexual, and class boundaries to examine the relationality of their intersectional identities while arguing for their rightful insertion into our (trans-)national American master narratives, has carved open the spaces for those currently writing and finding publishers in the twenty-first century

  • 19 - “The Geography of Their Complexion”

  • from Part III - Negotiating Literary Modernity
  • Edited by John Morán González, University of Texas, Austin, Laura Lomas, Rutgers University, New Jersey
  • Book:
    The Cambridge History of Latina/o American Literature
    Published online:
    16 February 2018
    Print publication:
    22 February 2018, pp 411-434

  • Summary

    This chapter engages Nuyorican poetry's mapping of diaspora from a geospatial perspective. Bringing together the seminal diaspora-centric approach of Juan Flores with a geopoetic framework informed by the work of geographers such as David Harvey, Edward Soja, and E.C. Relph, the chapter proposes that Nuyorican poets, writers, and artists from the 1960s to the present understand their work as a means to remap New York Puerto Rican history and experience from a complex and multifocal diasporic perspective. While focusing primarily on the foundational Nuyorican poets of the 1960s and 1970s (among them Pedro Pietri, Miguel Piñero, Tato Laviera, Sandra María Esteves, and Miguel Algarín), the chapter also devotes substantive attention to younger generations, and especially to the work of Lydia Cortés and Nancy Mercado, two critically underappreciated 1980s poets working in and expanding the Nuyorican tradition. Throughout, the essay emphasizes the centrality of “Loisaida” and “Nuyorico” as conceptual and existential spaces that counter hegemonic geographies while linking generations of poets, artists, scholars, and activists across space and time.

  • 24 - Invisible No More

  • from Part IV - Literary Migrations across the Americas, 1980–2017
  • Edited by John Morán González, University of Texas, Austin, Laura Lomas, Rutgers University, New Jersey
  • Book:
    The Cambridge History of Latina/o American Literature
    Published online:
    16 February 2018
    Print publication:
    22 February 2018, pp 510-531

  • Summary

    Central America has long been pivotal to U.S. economic and geopolitical interests and the U.S. political and cultural imaginary because of the isthmus’s geographical location. After the Gold Rush of 1849 made a transit route imperative through the middle of the hemisphere, U.S. filibusters, such as William Walker led the charge in Nicaragua during 1856-1857, followed by U.S. sponsorship of coups and revolutions in the region, including the creation of Panama after Colombia rejected the demands of the United States to build a trans-isthmian canal. Since the turn of the twentieth century, Central American writers such as Guatemalan Máximo Soto Hall (El problema, 1899; La sombra de la Casa Blanca, 1927), Salvadoran Roque Dalton (Taberna y otros lugares, 1968; Dalton y Cía, 1969), and others have examined the consequences of U.S. involvement in Central America and its people. With the escalation of U.S. military interventions and U.S.-backed government repression in the 1970s and 1980s, a vast flow of migrants, mostly from El Salvador, Guatemala, and Nicaragua, as well as Honduras and Panama, have made their way to the United States. Combined, U.S. interventions, local armed conflicts, and the migration flow from Central America produce the conditions that make possible the production of a U.S. Central American literature. While U.S. Central American writers often write about their particular historical contexts in and outside of the isthmus, they also call attention to communal survival strategies of invisibility, passing, or cultural camouflaging which Central Americans often deploy in the United States. In their works, U.S. Central American writers such as Tanya Maria Barrientos, Francisco Goldman, Héctor Tobar, Marcos McPeek Villatoro, and poets like Maya Chinchilla, Lorena Duarte, Leticia Hernández-Linares, and William Archila, among others, not only give visibility and voice to an array of U.S. Central American subjectivities but also contribute to an expansion of Latina/o literary history, now forced to reckon with Central America. This chapter examines the production of U.S. Central American literature before and beyond the age of neoliberalism.

  • 6 - Whither Latinidad?

  • from Part II - The Roots and Routes of Latina/o Literature
  • Edited by John Morán González, University of Texas, Austin, Laura Lomas, Rutgers University, New Jersey
  • Book:
    The Cambridge History of Latina/o American Literature
    Published online:
    16 February 2018
    Print publication:
    22 February 2018, pp 139-156

  • Summary

    As an unstable term, latinidad requires a multiplicity of interpretations, given the many chronological and geographical sites of its enunciation, and the many racial, social, and cultural realities that abound in the movements from Latin America, the Caribbean, to other parts of the world. Focusing on José Martí’s “Nuestra América” from 1891, Justo Sierra’s En tierra yankee (notas a todo vapor) from 1895, and Rubén Darío’s “A Roosevelt” (published in 1905), this essay explores the question of latinidad as a collective opposition against forms of colonialism that were emerging in this pivotal moment in American hemispheric history. Studying these texts in their specificity enables further reflections on the limits and promises of bodies of work we have come to identify as belonging to national literary traditions, or to “Latina/o” or “Latin” American” textual bodies, while allowing us to retain a sense of the specific histories and geographies of a polyvalent latinidad.

  • 35 - Temporal Borderlands

  • from Part IV - Literary Migrations across the Americas, 1980–2017
  • Edited by John Morán González, University of Texas, Austin, Laura Lomas, Rutgers University, New Jersey
  • Book:
    The Cambridge History of Latina/o American Literature
    Published online:
    16 February 2018
    Print publication:
    22 February 2018, pp 711-736

  • Summary

    This essay introduces a de-anachronizing paradigm for reading Latin@ literature, criticism, and literary history and documents Latina/o theory's role in articulating a post-colonial, deanachronizing critique. This essay argues that the decolonial critique of anachronism must be a central rather than peripheral concern in what has been called “the queer turn to temporality,” just as the decolonial project has much to gain from arguments for queer temporality as “a stepping out of the linearity of straight time” (Muñoz 25). A coalitional project materializing such a critique necessarily exposes and counters the intersecting ways in which the coloniality of power is updated when mobility is mapped from a disabling past to an ableist, all-encompassing euroamerican present, primarily as an effect of successful assimilation upon migration northward. I first contextualize straight time as a colonial legacy which returns even in supposedly unconventional narratives of queer temporality; next, I consider some ways in which Latin@ criticism and literature — specifically, 21st-century novels by Daisy Hernández and Felicia Luna Lemus — bring into relational view the temporal borderlands obscured by straight temporality.

  • 1 - Indigenous Herencias

  • from Part I - Rereading the Colonial Archive
  • Edited by John Morán González, University of Texas, Austin, Laura Lomas, Rutgers University, New Jersey
  • Book:
    The Cambridge History of Latina/o American Literature
    Published online:
    16 February 2018
    Print publication:
    22 February 2018, pp 33-50

  • Summary

    Centering the question of how coloniality staged the conceptual clash of peoples and ideas, this chapter locates the first expressions of transculturation in Latin America within the contact zones created by European colonialism and the Indigenous subaltern responses to it that ultimately became a critical element in the forging of contemporary Latina/o identities. The chapter critiques the claim of European colonialism to uniquely narrate the encounter between Europeans and indigenous peoples throughout the Americas, as this attitude underwrites the privileging of colonial ways of knowing and the dismissal of Indigenous ones. It provides a more sedimented genealogy of categories and concepts such as “creoles,” “mestizaje,” “hybridity,” and “nations” that ultimately scarred U.S. Latina/os, to conclude that Latina/o literatures always evidence the phantasmatic presence of indigeneity. We have to locate this problematic in the intersectionalities of race, and further plunge into the instabilities of racial geographies that continue to mark Latinidad.

  • 12 - José Martí, Comparative Critique, and the Emergence of Latina/o Modernity in Gilded Age New York

  • from Part II - The Roots and Routes of Latina/o Literature
  • Edited by John Morán González, University of Texas, Austin, Laura Lomas, Rutgers University, New Jersey
  • Book:
    The Cambridge History of Latina/o American Literature
    Published online:
    16 February 2018
    Print publication:
    22 February 2018, pp 249-275

  • Summary

    This chapter reads the prose and poetry of New York-resident Cuban José Martí as part of a transnational, multilingual Latina/o American literary and cultural history. Although read primarily as a national literary figure, Martí's writing also belongs to the borderlands and migratory routes of the global south in the north. In journalism or crónicas published in newspapers in the United States or Latin America and the Caribbean, in poetry, or in his notebooks and fragmentary writings, the leading ideologue of Cuba's anticolonial struggle conjured a Latina/o American form against the dominant literary schools of realism and sentimentalism, against monolingualism, against pan-Americanism and against racism. Martí draws on his transnational comparative reading of French and United States writers such as Baudelaire, Flaubert, Emerson and Douglass, and of experiences of other racialized groups including Chinese, African-Americans and "tejanos" to articulate from his Latino perspective an alternative to the dominant culture of the Gilded Age United States.

Page 651 of 2090