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The Red Front Door, a Memoir
Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 8-2019 The Red Front Door, A Memoir Camila B. Sanabria Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the English Language and Literature Commons Recommended Citation Sanabria, Camila B., "The Red Front Door, A Memoir" (2019). All Graduate Theses and Dissertations. 7529. https://digitalcommons.usu.edu/etd/7529 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE RED FRONT DOOR, A MEMOIR by Camila B. Sanabria A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS in English Approved: ______________________ ____________________ Jennifer Sinor, Ph.D Christopher Gonzalez, Ph.D Major Professor Committee Member ______________________ ____________________ Michael Sowder, Ph.D Richard S. Inouye, Ph.D. Committee Member Vice Provost for Graduate Studies UTAH STATE UNIVERSITY Logan, Utah 2019 ii Copyright © Camila Sanabria 2019 All Rights Reserved iii ABSTRACT The Red Front Door, A Memoir by Camila B. Sanabria, Master of Arts Utah State University, 2019 Major Professor: Dr. Jennifer Sinor Department: English This is a creative thesis that contains two components. The first component is a critical introduction arguing for representation of mixed-status families and deportation narratives. The introduction makes this argument by reviewing U.S. immigration policy and engaging with narrative theory. The theory it engages with is Viet Thanh Nguyen’s concept of a narrative economy. -
Introduction
Introduction Frederick Luis Aldama Scholar, playwright, spoken-word performer, award-winning poet, and avant-garde fiction author, since the 1980s Giannina Braschi has been creating up a storm in and around a panoply of Latinx hemispheric spaces. Her creative corpus reaches across different genres, regions, and historical epochs. Her critical works cover a wide range of subjects and authors, including Miguel de Cervantes, Garcilaso de la Vega, Juan Ramón Jiménez, Gustavo Adolfo Bécquer, Antonio Machado, César Vallejo, and García Lorca. Her dramatic poetry titles in Spanish include Asalto al tiempo (1981) and La comedia profana (1985). Her radically ex- perimental genre-bending titles include El imperio de los sueños (1988), the bilingual Yo-Yo Boing! (1998), and the English-penned United States of Banana (2011). With national and international awards and works ap- pearing in Swedish, Slovenian, Russian, and Italian, she is recognized as one of today’s foremost experimental Latinx authors. Her vibrant bilingually shaped creative expressions and innovation spring from her Latinidad, her Puerto Rican-ness that weaves in and through a planetary aesthetic sensibility. We discover as much in her work about US/Puerto Rico sociopolitical histories as we encounter the metaphysical and existential explorations of a Cervantes, Rabelais, Did- erot, Artaud, Joyce, Beckett, Stein, Borges, Cortázar, and Rosario Castel- lanos, for instance. With every flourish of her pen Braschi reminds us that in the distillation and reconstruction of the building blocks of the uni- verse there are no limits to what fiction can do. And, here too, the black scratches that form words and carefully composed blank spaces shape an absent world; her strict selection out of words and syntax is as important as the precise insertion of words and syntax to put us into the shoes of the “complicit reader” (Julio Cortázar’s term) to most productively interface, invest, and fill in the gaps of her storyworlds. -
The Code-Switching and Confluence of Languages in Esmeralda Santiago’S When I Was Puerto Rican (1993)
FAURJ The Code-Switching and Confluence of Languages in Esmeralda Santiago’s When I was Puerto Rican (1993) Sarah Stamos and Carmen Cañete-Quesada Harriet L. Wilkes Honors College Abstract: “The Code-Switching and Confluence of Languages in Esmeralda Santiago’s When I was Puerto Rican (1993)” is an essay/article written to produce and analyze thought on the style of code-switching of Spanish-English bilinguals. Santiago’s memoir details her young life in Puerto Rico in a rural home and society and then how she had to transition when she and her family moved to New York. Code-switching is when, in reference to Spanish and English, a person who speaks English will substitute an English word or phrase for a Spanish word or phrase. This occurs primarily with bilinguals. In When I was Puerto Rican, Santiago includes some Spanish words in her English context (because her primary language is English), practicing code-switching. This essay demonstrates the fundamentals of code-switching, how it is detailed in When I was Puerto Rican, and how events in history aided to its modern formation. “Code-switching” and the confluence of lan- The investigators discuss code-switching by ref- guages has been a linguistic manifestation of the erencing Spanish-English bilinguals and Chi- encounters between people of different cultures. nese-English bilinguals. In addition, they give Specifically concerning Spanish and English be- an example of the mechanics associated with tween the Caribbean and the United States, the code-switching by considering a specific sen- convergence of these two languages has greatly tence and studying how multilingual individuals heightened with the ever-continuing influx of incorporate more than one language: immigrants from Spanish-speaking countries. -
Jíbaros and Diaspora in Esmeralda Santiago's
Label Me Latina/o Summer 2014 Volume IV 1 Multiple Hybridities: Jíbaros and Diaspora in Esmeralda Santiago’s When I Was Puerto Rican By Lorna L. Pérez Esmeralda Santiago's first memoir When I Was Puerto Rican, published in 1994, chronicles the childhood and relocation of Santiago and her family from Puerto Rico to New York City. The memoir—the vast majority of which takes place in Puerto Rico— charts the ways that Santiago becomes a hybrid, an identity that she represents as being created in the belly of the plane that takes her family from Puerto Rico to the United States. While the trauma of relocation that Santiago articulates is profound, the hybridity that permeates this memoir is more reflective of the changes that marked mid-twentieth century life in Puerto Rico than it is of the trauma of relocation. Though the relocation in the memoir is certainly a traumatic experience, it is not the site of hybridity in the text, but is rather its culmination. Santiago symbolically represents multiple modes of hybridity in the memoir, including the hybridity implied by the title of the text, which speaks to the ways that Puerto Rican life is being drastically reconfigured in the years from 1950-1970. Reading the text in light of the multiple hybrid modes that Santiago employs points to an anxiety that lies in the heart of the current debates about Puerto Rican identity: what does it mean to be Puerto Rican and how do we represent a hybridity that is created through the borderland state that is the Commonwealth? The ambiguity that marked and continues to mark the Commonwealth status of Puerto Rico creates within Santiago’s text a painful ambivalence, wherein the articulation of this identity manifests a borderlands subjectivity that is born from the legal ambiguity of the Commonwealth. -
Nuyorican and Diasporican Literature and Culture E
Nuyorlcan and Diasporican Uterature and Culture Oxford Research Encyclopedia of Literature Nuyorican and Diasporican Literature and Culture e Jorge Duany Subject: American Literature, Literary Studies (20th Centwy Onward) Online Publication Date: jan 2018 DOI: 10.1093/acrefore/9780190201098.013.387 Summary and K.eywords The term "Nuyorican" (in its various spellings) refers to the cornbination of "Puerto Rican" and "NewYorker." The sobriquet became a popular shorthand for the Puerto Rican exodus to the United States after World War II. Since the mid-1960s, the neologism became associated with the literary and artistic movement known as "Nuyorican." The movement was institutionalized with the 1973 founding ofthe Nuyorican Poets Café in the Lower East Side of Manhattan by Miguel Algarín and Miguel Piñero. Much of Nuyorican literature featured frequent autobiographical references, the predominance of the English language, street slang, realism, parodie humor, subversiva politics, and a ruptura with the island's literary models. Since the 1980s, the literature of the Puerto Rican diaspora has been characterized as "post-Nuyorican" or "Diasporican" to capture sorne of its stylistic and thematic shifts, including a movement away from urban blight. violence, colloquialism, and radicalism. The Bronx-born poet Maria Teresa ("Mariposa") Fernández coined the term "Diasporican" in a celebrated 1993 poem. Contemporary texts written by Puerto Ricans in the United States also reflect their growing dispersa! from their initial concentration in New York City. Keywords: Puerto Rican diaspora, Puerto Ricans in New York. second-generation immigrants, retum migration to Puerto Rico Pago 1 of22 PRINTED PROM the OXFORD RESEARCH ENCYCLOPEDIA, LITERATURE (literature.oxfordre.com). (e) Oxford University Press USA. -
Melendez-Ramirez.Pdf
NATIONAL HISTORIC LANDMARK NOMINATION NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 CASA DRA. CONCHA MELÉNDEZ RAMÍREZ Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: Casa Dra. Concha Meléndez Ramírez Other Name/Site Number: Casa Biblioteca Dra. Concha Meléndez Ramírez 2. LOCATION Street & Number: 1400 Vilá Mayo Not for publication: City/Town: San Juan Vicinity: X State: Puerto Rico County: San Juan Code: 127 Zip Code: 00907 3. CLASSIFICATION Ownership of Property Category of Property Private: Building(s): _X_ Public-Local: District: ___ Public-State: _X_ Site: ___ Public-Federal: ___ Structure: ___ Object: ___ Number of Resources within Property Contributing Noncontributing 1 1 buildings sites structures objects 1 1 Total Number of Contributing Resources Previously Listed in the National Register: 1 Name of Related Multiple Property Listing: NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 CASA DRA. CONCHA MELÉNDEZ RAMÍREZ Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this ____ nomination ____ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ____ meets ____ does not meet the National Register Criteria. -
01:595:266 Puerto Rican Literature / 01:195:267:01 Latino Literature Fulfills Culture and Creative Expressions Distribution for LCS Major/Minor
01:595:266 Puerto Rican Literature / 01:195:267:01 Latino Literature Fulfills Culture and Creative Expressions Distribution for LCS Major/Minor Course Description This course will offer a panoramic view of Puerto Rican literature beginning with the Grito de Lares in 1868 and ending with 21st-century contemporary literature from the island. Among the periods or subjects discussed will be the different anti-colonial and nationalist movements (Ramón Emeterio Betances, Pedro Albizu Campos), Afroantillean poetry (Luis Palés Matos), the Generation of the 1930s and the dissenting voices within it (Pedreira, Marqués, Julia de Burgos), the Nuyorican diaspora (Pietri, Piri Thomas), the critique of the paternalistic nationalist canon by the Generation of the 70s (García Ramis, Ramos Otero, Rosario Ferré), and recent contemporary writers (Pedro Cabiya). Course Learning Goals Upon completion of the course, students will be able to: • Understand the history of Puerto Rico’s colonial status, from the 16th century, when the island was under Spanish control, to the US invasion in 1898 and the creation of the Commonwealth (ELA) in 1950-1952 • Become acquainted with the different literary movements and literary criticism in Puerto Rico and the diaspora • Develop critical thinking skills and the ability to speak and write clearly and analytically Required Reading* Luis Rafael Sánchez, Macho Camacho’s Beat (La guaracha del Macho Chamacho) [ISBN-10: 1564782581; ISBN-13: 978-1564782588] Rosario Ferré, The House on the Lagoon [ISBN-10: 0452277078; ISBN-13: 978-0452277076] Pedro Cabiya, Wicked Weeds: A Zombie Novel (Malas Hierbas) [ISBN 10: 1942134118; ISBN-13: 978-1942134114] Film: “La operación The Operation Consult Rutgers Barnes & Noble for current books for the course. -
Literature for the 21St Century Summer 2013 Coursebook
Literature for the 21st Century Summer 2013 Coursebook PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Sun, 26 May 2013 16:12:52 UTC Contents Articles Postmodern literature 1 Alice Munro 14 Hilary Mantel 20 Wolf Hall 25 Bring Up the Bodies 28 Thomas Cromwell 30 Louise Erdrich 39 Dave Eggers 44 Bernardo Atxaga 50 Mo Yan 52 Life and Death Are Wearing Me Out 58 Postmodernism 59 Post-postmodernism 73 Magic realism 77 References Article Sources and Contributors 91 Image Sources, Licenses and Contributors 94 Article Licenses License 95 Postmodern literature 1 Postmodern literature Postmodern literature is literature characterized by heavy reliance on techniques like fragmentation, paradox, and questionable narrators, and is often (though not exclusively) defined as a style or trend which emerged in the post–World War II era. Postmodern works are seen as a reaction against Enlightenment thinking and Modernist approaches to literature.[1] Postmodern literature, like postmodernism as a whole, tends to resist definition or classification as a "movement". Indeed, the convergence of postmodern literature with various modes of critical theory, particularly reader-response and deconstructionist approaches, and the subversions of the implicit contract between author, text and reader by which its works are often characterised, have led to pre-modern fictions such as Cervantes' Don Quixote (1605,1615) and Laurence Sterne's eighteenth-century satire Tristram Shandy being retrospectively inducted into the fold.[2][3] While there is little consensus on the precise characteristics, scope, and importance of postmodern literature, as is often the case with artistic movements, postmodern literature is commonly defined in relation to a precursor. -
The Guerilla Tongue": the Politics of Resistance in Puerto Rican Poetry
University of Massachusetts Amherst ScholarWorks@UMass Amherst Open Access Dissertations 2-2012 The ueG rilla Tongue": The olitP ics of Resistance in Puerto Rican Poetry Natasha Azank University of Massachusetts Amherst, [email protected] Follow this and additional works at: https://scholarworks.umass.edu/open_access_dissertations Part of the English Language and Literature Commons Recommended Citation Azank, Natasha, "The ueG rilla Tongue": The oP litics of Resistance in Puerto Rican Poetry" (2012). Open Access Dissertations. 512. https://doi.org/10.7275/5rm4-z450 https://scholarworks.umass.edu/open_access_dissertations/512 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. “THE GUERILLA TONGUE”: THE POLITICS OF RESISTANCE IN PUERTO RICAN POETRY A Dissertation Presented by NATASHA AZANK Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2012 English © Copyright by Natasha Azank 2012 All Rights Reserved “THE GUERILLA TONGUE”: THE POLITICS OF RESISTANCE IN PUERTO RICAN POETRY A Dissertation Presented by Natasha Azank Approved as to style and content by: _______________________________________ Deborah Carlin, Chair ____________________________________ Rachel Mordecai, Member -
Dancing in the Borderlands: Dance and Dance Metaphors in Esmeralda Santiago’S the Turkish Lover
DANCING IN THE BORDERLANDS: DANCE AND DANCE METAPHORS IN ESMERALDA SANTIAGO’S THE TURKISH LOVER Chandra L. Roughton A Thesis Submitted to the University of North Carolina Wilmington in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of English University of North Carolina Wilmington 2009 Approved by Advisory Committee _________________________Janet Ellerby _________________________Michael Wentworth _________________________Barbara Waxman Chair Accepted by _________________________ Dean, Graduate School TABLE OF CONTENTS ABSTRACT ................................................................................................................................... iii ACKNOWLEDGEMENTS ........................................................................................................... iv DEDICATION ................................................................................................................................v INTRODUCTION ...........................................................................................................................1 RELATIONSHIPS ...........................................................................................................................8 CLOTHING AND CONTROLLING THE BODY .......................................................................23 EDUCATION ...............................................................................................................................35 LANGUAGE AND VOICE ..........................................................................................................39 -
Marc Zimmerman's Bibliography on Latino/A Literature
U.S. LATINOS: THEIR CULTURE AND LITERATURE - by Marc Zimmerman (http://tigger.uic.edu/~marczim/latlit/) I. LATINO LITERATURE IN THE CULTURAL PROCESS II. LATINOS AND THEIR CULTURE A. Identity. B. Some Definitions C. Some Questions About the Future of Latinos III. U.S. LATINO LITERATURE: HISTORY AND DEVELOPMENT A. Latino Populations and Three Phases of Migration Literature B. The Development of Chicano Literature C. Puerto Rican Literature in the U.S. D. Cuban and Other U.S. Latino Literatures IV. POSTMODERN PERSPECTIVES AND FINAL THOUGHTS A. Some Key Perspectives B Postmodern Multicultural Crossovers C. Literature, the Midwest and Future Developments I. LATINO LITERATURE IN THE CULTURAL PROCESS In the past several years, with the remarkable growth and diversification of the U.S. Latino population, we have witnessed the emergence of a literature expressing Latino traditions, conflicts, and transformations. Contrary to common understanding, literature by Hispanics or Latinos, mainly in Spanish, but sometimes in English as well, has existed in what is now the U.S. since the sixteenth century; and a distinctly ethnic Latino literature has been evolving for well over a hundred years. With the emergence of U.S. Chicano and Puerto Rican social movements in the 1960s, a number of young Chicano and Nuyorican writers also surfaced and synthesized the bases for new literatures which were consciously and specifically ethnic in character and function. Characterized by nostalgia for a fading past, by a critique of racial oppression and negative acculturation experiences in the fields, in the city neighborhoods, the schools, factories and homes, by bilingualisms, schizophrenic goal conflicts and sex role confusions, by cultural ten-sions, affirmations and anger, and by calls for reform, rebellion, revolution or other forms of opposition, the emergent Latino literatures of the 1960s attempted to serve as laboratories for the expression and then reconstruction of transformed Latin American and U.S. -
Gendered Geographies in Puerto Rican Culture: Spaces, Sexualities, Solidarities Radost A
Gettysburg College Faculty Books 2-2016 Gendered Geographies in Puerto Rican Culture: Spaces, Sexualities, Solidarities Radost A. Rangelova Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/books Part of the Caribbean Languages and Societies Commons, History of Gender Commons, and the Women's Studies Commons Share feedback about the accessibility of this item. Rangelova, Radost. Gendered Geographies in Puerto Rican Culture: Spaces, Sexualities, Solidarities. Chapel Hill: The nivU ersity of North Carolina Press, 2016. This is the publisher's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/books/103 This open access book is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Gendered Geographies in Puerto Rican Culture: Spaces, Sexualities, Solidarities Description This is a critical study of the construction of gendered spaces through feminine labor and capital in Puerto Rican literature and film (1950-2010). It analyzes gendered geographies and forms of emotional labor, and the possibility that they generate within the material and the symbolic spaces of the family house, the factory, the beauty salon and the brothel. It argues that by challenging traditional images of femininity texts by authors and film directors like Rosario Ferré, Carmen Lugo Filippi, Magali García Ramis, Mayra Santos-Febres, Sonia Fritz and Ana María García, among others, contest the official Puerto Rican cultural nationalist discourse on gender and nation, and propose alternatives to its spatial tropes through feminine labor and solidarities.