DOCSLIB.ORG

2010SAULNY DE ANDARCIA, IVONNE MARCELLE.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2010SAULNY DE ANDARCIA, IVONNE MARCELLE.Pdf UNIVERSIDAD DE LEÓN Departamento de Filología Moderna CODE-SWITCHING: LA ALTERNANCIA DE CÓDIGO LINGÜÍSTICO EN LA POESÍA NORTEAMERICANA DE ORIGEN HISPANO Ivonne Marcelle Saulny León Dirección de: Dr. Julio-César Santoyo Mediavilla León, mayo de 2011 1 Universidad de León Departamento de Filología Moderna INFORME DEL DIRECTOR DE LA TESIS (Art. 11.3 del R.D. 56/2005) El Dr. D. __________________________________como Director de la Tesis Doctoral titulada “_______________________________ ____________________________________________”, realizada por Doña __________________________________________ en el Departamento de _____________________, informa favorablemente el depósito de la misma, dado que reúne las condiciones necesarias para su defensa. Lo que firmo, para dar cumplimiento al art. 11.3 del R.D. 56/2005, en León a ____de ___________ de____________ . 2 Universidad de León Departamento de Filología Moderna ADMISIÓN A TRÁMITE DEL DEPARTAMENTO (Art. 11.3 del R.D. 56/2005 y Norma 7ª de las Complementarias de la ULE) El Departamento de ____________________________ en su reunión celebrada el día _____ de ___________ de _______ ha acordado dar su conformidad a la admisión a trámite de lectura de la Tesis Doctoral titulada “_____________________________ _______________________________________________________ __________________________”, dirigida por el Dr. D. ___________________________, y elaborada por Doña ______________________________. Lo que firmo, para dar cumplimiento al art. 11.3 del R.D. 56/2005, en León a ____ de ___________ de ____________. El Secretario, Fdo.:____________________ Vo B° El Director del Departamento, Fdo.: ________________________ 3 AGRADECIMIENTOS No perder la oportunidad de hacer mi Doctorado fue un consejo que no tardé ni un instante en tomar. A pesar de que las circunstancias personales y familiares me eran adversas, sabía que mi intuición no me fallaría al decirme que este comienzo, tendría un final. Y aquí estoy, escribiendo las últimas y más gratificantes palabras de mi tesis. Es un trabajo que requirió de mucha paciencia, pero que a la vez me retribuyó con el compartir y disfrutar con una gran cantidad de personas y lo más importante: me mostró que sigo estando preparada para otros tantos retos que me conduzcan a una superación personal y profesional. Aquí plasmo estas palabras especialmente para mis hijos, a quienes les demuestro que todo aquello que podamos sumar con deseo, voluntad y amor a nuestras vidas, bien vale todo tiempo y esfuerzo. Doy gracias a Dios por no dejarme sola ni un instante y por estar aquí conmigo dándole luz a las palabras de agradecimiento que a continuación escribo: Al Dr. Julio-César Santoyo, el haber aceptado la conducción de mi tesis brindándome seguridad en todo momento. A la Dra. Carmen Yolanda Alvarado la sugerencia del tema y el valioso aporte bibliográfico que me facilitó desinteresadamente. A los poetas Louis Rivera, Ed Morales, Jesús Papoleto (Puerto Rico), Cecilia Rodríguez Milanés y Gustavo Pérez Firmat (Cuba), quienes de una manera receptiva a través de e-mail enriquecieron muy gentilmente mi material de trabajo. 4 Agradezco al convenio UPEL / Universidad de León-España, logrado por las Dras. Rosa López de D’Amico y Cristina Garrigós, a través del cual realicé mi tesis doctoral. Hago una mención especial de gratitud a mi hermana Louise Lucienne y a Ramón Ruíz, quienes me facilitaron el inicio de mis estudios doctorales. Y, finalmente, doy mil gracias a todas aquellas personas que de una u otra forma contribuyeron con mi trabajo, a aquellas que se solidarizaron con mi objetivo y a aquellas que me dieron el abrazo oportuno para seguir adelante. Gracias de corazón. 5 ÍNDICE INTRODUCCIÓN…………………………………………………... 13 CAPÍTULO I. MARCO TEÓRICO……………………………..... 15 1.1 Definición de code-switching…………………………….... 15 1.2 Code-switching y sus afines………………………………... 17 1.3 Code-switching y spanglish………………………………... 19 1.4 Restricciones del code-switching………………………….. 21 1.5 Uso del code-switching………..………………………….. 22 1.6 Modelo del elemento marcado...………………………….. 27 1 1.7 Funciones del cambio de código...…………………………. 29 1.8 Teoría de la acomodación del discurso...…………………... 30 CAPÍTULO II. MARCO HISTÓRICO…………………………… 33 2.1 Code-switching: Sus comienzos…………………………..... 33 2.2 Code-switching en la poesía puertorriqueña……………….. 45 2.3 Code-switching en la poesía chicana……………………….. 49 2.4 Code-switching en la poesía cubana………………………... 54 CAPÍTULO III. ESTUDIO TEMÁTICO…………………………. 58 3.1 Concepto de tema...…………………………………………. 58 3.2 Orígenes de los temas en la literatura hispanoamericana………………………………………... 59 3.3 Ideología en la poesía hispanoamericana……………............ 60 3.4 Análisis temático……………………………………………. 62 6 CAPÍTULO IV. ANÁLISIS LINGÜÍSTICO……………………... 79 4.1 Una mirada histórica............................................................... 79 4.2 Análisis lingüístico…………………………………………. 80 4.2.1 Poemas puertorriqueños……………………………. 81 4.2.2 Poemas chicanos…………………………………… 91 4.2.3 Poemas cubanos.…………………………………… 107 CAPÍTULO V. LOS PROTAGONISTAS………………………… 118 5.1 Poetas puertorriqueños…………………………………….. 118 5.1.1 Louis Reyes Rivera……………………………….. 118 5.1.2 Ed Morales……………………………………….. 119 5.1.3 Bimbo Rivas………………………………………. 119 5.1.4 Willie Perdomo…………………………………… 119 5.1.5 María Teresa Fernández………………………….. 120 5.1.6 Marina Ortíz………………………………………. 120 5.1.7 Pedro Pietri………………………………………... 121 5.1.8 Tato Laviera………………………………………. 121 5.1.9 Jesús Papoleto Meléndez………………………….. 122 5.1.10 Emanuel Xavier………………………………….. 123 5.1.11 Miguel Piñero……………………………………. 123 5.2 Poetas chicanos……………………………………………. 124 5.2.1 Sandra Cisneros………………………………….. 124 5.2.2 Lydia Camarillo………………………………….. 124 5.2.3 Raquel Valle………………………………………. 125 5.2.4 José Montoya…………………………………….. 125 5.2.5 Raúl Salinas……………………………………….. 125 5.2.6 Ángela de Hoyos…………………………….......... 126 7 5.2.7 Margarita Cota Cárdenas………………………….. 126 5.2.8 Gina Valdéz……………………………………….. 127 5.2.9 Rudolfo Anaya……………………………………. 127 5.2.10 Pat Mora…………………………………………. 128 5.2.11 Gloria Velásquez……………………………….. 128 5.2.12 Abelardo Delgado……………………………….. 129 5.2.13 Alberto Baltazar Urista………………………….. 130 5.2.14 Neftalí de León…………………………………... 130 5.2.15 Gloria Anzaldúa…………………………………. 132 5.3 Poetas cubanos…………………………………………… 134 5.3.1 Cecilia Milanés Rodríguez……………………….. 134 5.3.2 Adrián Castro……………………………………... 135 5.3.3 Sandra Castillo……………………………………. 135 5.3.4 Pablo Medina……………………………………. 136 5.3.5 Richard Blanco……………………………………. 136 5.3.6 Gustavo Pérez Firmat……………………………... 137 CAPÍTULO VI. CORPUS TEXTUAL……………………………. 139 6.1 Poemas puertorriqueños………………………………….. 141 Marianita………………………………………………… 141 Rebirth of New Rican..………………………………….. 143 The Last Blackface….…………………………………... 144 Loisaida…………………………………………………. 146 Nigger-Reecan Blues…………………………………….. 148 Ode to the diasporican ………….………………………. 150 Tears of the Tigers………………………………………. 151 Los Nervios………………………………………………. 155 Virtual Boricua…………………………………………... 156 8 El Spanglish National Anthem.…………………………. 157 Puerto Rican Obituary………………………………….. 161 My Graduation Speech…………………………………. 169 Sky People……………………………………………….. 169 Tito Madera Smith…………….…………………………. 170 Angelito’s Eulogy in Anger….…………………………. 172 Excommunication Gossip………………………………... 175 A Message to Our Unwed Women……………………... 178 The Song of an Oppressor.……..………………………... 180 The New Rumbón.……………………………………… 183 The África in Pedro Morejón……………………………. 184 Tumbao………………………………………………….. 185 Asimilao…………………………………………………. 188 Just Before the Kiss..……………………………………. 189 M’ija……………………………………………………... 190 Praying…………………………………………………... 190 Diega…………………………………………………….. 192 Esquina Dude……………………………………………. 193 Brava…………………………………………………….. 194 Boda……………………………………………………... 195 Bolita Folktale…………………………………………… 196 ! Hey yo/Yo soy!............................................................... 198 Oye Mundo/Sometimes………………………………….. 204 Latin Girl………………………………………………... 206 Americano……………………………………………….. 207 Tradiciones………………………………………………. 208 The Menudo of a Cuchifrito Love Affair……………….. 210 Jitterbug Jesus…………………………………………… 211 Cocaine Nose-Acid Face..……………………………….. 212 9 6.2 Poemas chicanos………………………………………….. 214 You Bring out the Mexican in Me..……………………… 214 Mi Reflejo………………………………………………... 216 Laredo…………………………………………………… 219 The Uniform of the Day..……….……………………….. 221 El Sol y ‘l Rovato Loco.…………………………………. 222 Pueblo Querido…………………………………………... 224 Ciego/Sordo/Mudo..…………………………………….. 237 Quise (casi-soñar) Soneto………………………………. 228 Crash Landing……………………………………………. 228 Soooooo ReeeeeeeAaaaal Poem…………………………. 233 Homenaje al Pachuco……………………………………. 234 Canto…………………………………………………….. 238 Tú Quién Eres y Yo Quién Soy………………………….. 242 With Savoring Eyes/Con los Ojos Saboreando…………. 242 Si Amas Perdona si no Amas, Olvida…………………... 243 In the House of Love or: The Daily Soap Opera………… 244 De Compras……………..………………………………. 247 Chicanita Flor del Campo..……………………………… 248 Tonantzin Morena………………………………………... 248 O Reckless Atlas………………………………………... 249 Teoricanto III……………………………………………. 251 Where You From?.............................................................. 252 English con Salsa……………………………………….... 252 Walt Whitman Strides the Llano of New Mexico……….. 254 Mangos y Limones..…………………………………….. 259 Legal Alien………………………………………………. 260 Dear Frida………………………………………………... 260 Diagnosis……………………………………………….... 262 10 Bella Juventud…………………………………………… 264 El Barrio…………………………………………………. 265 Día de los Muertos………………………………………. 266 Must Be the Season of the Witch.………………………. 268 Salsa con Crackers……………………………………….. 269 I Have Found My Flesh………………………………….
Load more

Recommended publications
  • Zukofsky), 736–37 , 742–43 Asian American Poetry As, 987–88 “ABC” (Justice), 809–11 “Benefi T” Readings, 1137–138 Abolitionism
    Cambridge University Press 978-1-107-00336-1 - The Cambridge History of: American Poetry Edited by Alfred Bendixen and Stephen Burt Index More information Index “A” (Zukofsky), 736–37 , 742–43 Asian American poetry as, 987–88 “ABC” (Justice), 809–11 “benefi t” readings, 1137–138 abolitionism. See also slavery multilingual poetry and, 1133–134 in African American poetry, 293–95 , 324 Adam, Helen, 823–24 in Longfellow’s poetry, 241–42 , 249–52 Adams, Charles Follen, 468 in mid-nineteenth-century poetry, Adams, Charles Frances, 468 290–95 Adams, John, 140 , 148–49 in Whittier’s poetry, 261–67 Adams, L é onie, 645 , 1012–1013 in women’s poetry, 185–86 , 290–95 Adcock, Betty, 811–13 , 814 Abraham Lincoln: An Horatian Ode “Address to James Oglethorpe, An” (Stoddard), 405 (Kirkpatrick), 122–23 Abrams, M. H., 1003–1004 , 1098 “Address to Miss Phillis Wheatley, academic verse Ethiopian Poetess, Who Came literary canon and, 2 from Africa at Eight Year of Age, southern poetry and infl uence of, 795–96 and Soon Became Acquainted with Academy for Negro Youth (Baltimore), the Gospel of Jesus Christ, An” 293–95 (Hammon), 138–39 “Academy in Peril: William Carlos “Adieu to Norman, Bonjour to Joan and Williams Meets the MLA, The” Jean-Paul” (O’Hara), 858–60 (Bernstein), 571–72 Admirable Crichton, The (Barrie), Academy of American Poets, 856–64 , 790–91 1135–136 Admonitions (Spicer), 836–37 Bishop’s fellowship from, 775 Adoff , Arnold, 1118 prize to Moss by, 1032 “Adonais” (Shelley), 88–90 Acadians, poetry about, 37–38 , 241–42 , Adorno, Theodor, 863 , 1042–1043 252–54 , 264–65 Adulateur, The (Warren), 134–35 Accent (television show), 1113–115 Adventure (Bryher), 613–14 “Accountability” (Dunbar), 394 Adventures of Daniel Boone, The (Bryan), Ackerman, Diane, 932–33 157–58 Á coma people, in Spanish epic Adventures of Huckleberry Finn (Twain), poetry, 49–50 183–86 Active Anthology (Pound), 679 funeral elegy ridiculed in, 102–04 activist poetry.
    [Show full text]
  • 5493 Hon. Charles B. Rangel Hon. Hilda L. Solis
    February 24, 2009 EXTENSIONS OF REMARKS, Vol. 155, Pt. 4 5493 Black Crossroads: The African Diaspora in and individuals associated with Latin Rhythms sacrificed throughout our childhood so my sib- Miami. The exhibit, which will be on display at and Salsa in the music world. The salsa band lings and I could live up to our potential to the Historical Museum of Southern Florida leader was famed for weaving a fluid and bilin- achieve whatever our talents would allow. Like from March 5, 2009 to January 24, 2010, de- gual mix of musical influences dubbed ‘‘The other families throughout the San Gabriel Val- picts the diverse groups of the African Dias- Boogaloo.’’ ley, my parents instilled in my siblings and me pora who have come to settle, work and strug- Born Gilberto Calderon in 1931 in New York the value of hard work, public service and gle for freedom in Miami since its incorpora- to a family from Puerto Rico, the band leader commitment to family. For most of my adult tion in 1896 to the present day. and conga player helped change the sound of life I have continued to live in the San Gabriel Celebrating the diversity and richness, Black salsa in the 1960s. Until then, most popular Valley, calling El Monte home. Crossroads: The African Diaspora in Miami salsa had been played by orchestras. But California’s 32nd Congressional District is a explores the enduring presence and impact of Cuba led a six-member band with three sing- culturally diverse district where residents live African-Americans, Africans, black Carib- ers who also played percussion and danced a and work together as a community to ensure beans, and black Hispanics in Miami.
    [Show full text]
  • The Same Old Song
    Volumen 7, Número 1 Primavera 2016 Beatriz Rivera-Barnes Penn State University Yes, It Isn’t: Afro-Caribbean Identity in Puerto Rican Poetry, from Guayama to Loisaida “Ten con ten”: an untranslatable tonal palindrome, and the title of a poem by the Puerto Rican Luis Palés Matos. It is rendered as “Neither this nor That” in Julio Marzán’s anthology of twentieth century Puerto Rican poetry, Inventing a Word. In this poem, Palés refers to his green island, outlined in pirate and black: “Estás, en pirata y negro/mi isla verde estilizada” (Palés 2002, 139). If I have opted for outlined rather than Marzán’s choice of designed to interpret the poet’s estilizada, it is because of the two lines that follow: “el negro te da la sombra/te da la linea el pirata.” (the black man giving you the hue/and the pirate the line) Again, the translation is mine, and certainly el negro could simply be black, the color, but here el negro is weighed against el pirata, and both are contributing to the form and contour of the island that is located: “en un sí es que no es de raza/un ten con ten de abolengo/que te hace tan antillana . .” (in a yes it isn’t about race/a blurriness of lineage/that makes you so Antillean . .) (All translations are mine unless otherwise indicated.) Ambivalence, incongruity, contradiction, ambiguity: all negative words? No necessarily, but all components of “Ten con ten,” of the Antillean psyche, of the need to find a sound and a word to express all Beatriz Rivera Barnes 166 Volumen 7, Número 1 Primavera 2016 those souls, so much asking to be addressed and to be sung in Puerto Rican negritude poetry.
    [Show full text]
  • Puerto Rican Obituary
    144 Off Campus: Seggau School of Thought 6 Monica Cristiana Irimia Repressed Culture and Otherness in “Yo Soy Joaquín” and “Puerto Rican Obituary” Abstract This paper provides an analysis of two poems, Yo Soy Joaquin and Puerto Rican Obituary, which stand as manifestos for two radically sociopolitical engagements, the Chicano/a movement and the Nuyorican movement. Both texts deal with the inferior status of minorities in the US and reflect upon issues such as racism, oppression, cultural survival, cultural pride, diversity, ethnic pluralism. This article explores the similarities between two texts that come from rather different cultural areas. The paper also analyzes the stylistic devices involved in the making of the poems. Both poems are elegies for asserting one's cultural heritage and acknowledging one's true identity. Suggested Citation: Irimia, Monica Cristiana. “Repressed Culture and Otherness in ‘Yo Soy Joaquín’ and ‘Puerto Rican Obituary’.” Radical (Dis)Engagement: State – Society – Religion (Off Campus: Seggau School of Thought 6), edited by Murray Forman, Erlis Laçej, Frederick Reinprecht, and Kim Sawchuk. 2020, pp. 145-153, DOI: 10.25364/25.6:2020.11. Keywords: hybridity, identity, oppression, manifesto, survival Peer Review: This article was reviewed by the volume’s editors and professors of the GUSEGG Summer School. Copyright: © 2020 Monica Cristiana Irimia. This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CCBY 4.0), which allows for the unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Off Campus: Seggau School of Thought 6 145 Monica Cristiana Irimia Repressed Culture and Otherness in “Yo Soy Joaquín” and “Puerto Rican Obituary” The purpose of this essay is to discuss two poems, “Yo Soy Joaquín” and “Puerto Rican Obituary,” by establishing the similarities and differences between them from an ideological and a stylistic point of view.
    [Show full text]
  • New Nuyorican Poets, Voices and Sounds: an Interview with Jaime Shaggy Flores
    New Nuyorican Poets, Voices and Sounds: An Interview with Jaime Shaggy Flores Felicia L. Fahey, Bates College Liz Hoagland, Bates College Abstract In this interview Jaime "Shaggy" Flores talks about recent changes within the Nuyorican poetry movement and the emergence of two new generations of poets over the last two decades. He discusses a number of issues including the ongoing "island" vs. "mainland" debate, the impact of music on both generations, race and class differences, and his own views about the place of Nuyorican poetry within the African diaspora and Black cultures of the United States. New Nuyorican Poets, Voices and Sounds: When Jaime Flores, aka Shaggy, enters a theater or performance space, he doesn't enter quietly but as a catalyzing burst of energy. Transforming the space with vibration, he glides down the central isle delivering the simulated sounds of a human beat box, drawing the audience into an excited focus. Once on stage, he faces the crowd and gracefully pauses to find a breath before making his way through a verse from a traditional Yoruba Afro-Caribbean song: "Yemaya hace su, hace su Yemaya!" Hip Hop, African cultural traditions and a strong sense of performance indeed define Shaggy's poetic style, but his references are multiple, ranging from popular culture to spiritual rituals. Shaggy also plays on various poetic genres, including erotic and romantic poetry. As one of the young up-and-coming poets who has worked to reinvigorate the Nuyorican poetry movement in recent years, Shaggy brings a scholarly attitude to what he refers to as cultural work.
    [Show full text]
  • On out of Focus Nuyoricans, Noricuas, and Performance Identities
    Liminalities: A Journal of Performance Studies Vol. 10, No. 3/4 (2014) On Out of Focus Nuyoricans, Noricuas, and Performance Identities Urayoán Noel Nuyorican poetics have long been bound up in questions of visibility and invisibility. This is partly a sociological matter reflective of the reality of a New York Puerto Rican community that has historically struggled for (counter)institutional visibility even against the backdrop of a variety of hyper- visible and powerful yet stereotype-defining media representations, from the punchlines of West Side Story to the ethnographic solemnity of Oscar Lewis’s La Vida; A Puerto Rican Family in the Culture of Poverty—San Juan and New York (1966). In Miguel Algarín’s foundational formulation of the Nuyorican aesthetic, performed poetry (and the various other kinds of spoken word and performance that flourished at his Nuyorican Poets Cafe) emerges as an alternative to the impasses of communal visibility/invisibility; his essay “Nuyorican Literature” (1981) theorizes Nuyorican poetics in terms of communal performance, of reading aloud, of the public sharing of poetry as a means of collective healing.1 As a founding Nuyorican poet and author of the Nuyorican movement’s foundational epic “Puerto Rican Obituary” (1969), Pedro Pietri (1943-2004) shared Algarín’s community- and performance-centric conception of poetry, but Pietri’s own poetics also opened up towards conceptualist, experimental, and Urayoán Noel is Assistant Professor of English and Spanish at NYU. He is the author of In Visible Movement: Nuyorican Poetry from the Sixties to Slam (University of Iowa Press, 2014) and of several books of poetry.
    [Show full text]
  • 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.
    [Show full text]
  • Cruz A. Arroyo III Senior Essay in English Professor Rajeswari Mohan April 9, 2015 Arroyo 2
    Arroyo 1 Fractured Heart: Locating Puerto Rican Identity and Masculinity in Piri Thomas' Down TheJe Mean StreetJ Cruz A. Arroyo III Senior Essay in English Professor Rajeswari Mohan April 9, 2015 Arroyo 2 Acknowledgements I would like to thank Professor Mohan for her excellent guidance and critical commentary on my drafts, Jeremiah Mercurio for helping me locate a majority of the critical material discussed herein, and Professor Vargas for crafting the reading list with Piri Thomas right at the top. I would also like to thank everyone who has supported me throughout this process. This essay is dedicated to Cruz and Wanda Arroyo. Their love never hinged on their colors. They never tried to be white, and never pretended to be black. They lived as themselves and taught their children to do the same. With love, For the Arroyo family. Arroyo 3 "John," she said, "does it make every one-unhappy when they study and learn lots of things?" He paused and smiled. "I am afraid it does," he said. "And, John, are you glad you studied?" "Yes," came the answer, slowly but positively. - W.EB. DuBois, Of the Coming ofJohn, Foreword If one were to initiate the project of identifYing the experiences of Puerto Ricans in the United States, what better way to begin than with a dark skinned Puerto Rican male on the rooftop of a broken down building in Harlem screaming, ''I'm here, and I want recognition"? So begins the autobiography ofPiri Thomas, a public intellectual born in New York City's Spanish Harlem in 1928.
    [Show full text]
  • Latero Stories, Bodega Dreams
    Revista de Estudios Norteamericanos, nº 18 (2014) Seville, Spain. ISSN 1133-309-X, pp.13-33 SPACES AND FLOWS IN THE PUERTO RICAN BARRIO: LATERO STORIES, BODEGA DREAMS. JESÚS BENITO Universidad de Salamanca [email protected] Received 1st September 2014 Accepted 7th April 2015 KEYWORDS Displacement; barrio; globalization; ethnicity; community; American dream PALABRAS CLAVE Dislocación; barrio; globalización; etnicidad; comunidad; sueño americano. ABSTRACT Taking Manuel Castells’s idea of globalization in a world of late capitalism as a “space of flows,” where mobility and instability are essential to the workings of the system, the article looks at the role of the barrio and its ethnic dwellers as forces of stability and local resistance. If it is undeniable that many recent political movements of a clearly oppositional stance have gained visibility through the occupation of particularly prominent sites (whether in Zucotti Park, Tahrir Square or la Puerta del Sol, among others), can we also view the barrio as another site of metaphorical occupation, a bulwark against the forces of capitalist infiltration and gentrification? Can we then assume barrio dwellers as largely opposed to the economic dynamics of globalization? The article explores this issue by analyzing two Puerto Rican texts, Tato Laviera’s “Latero Story” and Ernesto Quiñonez’s Bodega Dreams, where the characters occupy diverse and complex positionalities with regards to the promises of a renewed American dream. RESUMEN Partiendo de las ideas de Manuel Castells sobre el mundo contemporáneo como “space of flows” en el que la constante movilidad espacial de productos y trabajadores es esencial para el funcionamiento del sistema, el artículo analiza la función del barrio y de sus habitantes como espacios estables y de resistencia.
    [Show full text]
  • 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
    [Show full text]
  • Mytriptoamericabymartinwong.Pdf
    Published on the occasion of the exhibition Painting Is Forbidden, this anthology of newly commissioned texts and interviews examines the work and legacy of Chinese- American artist Martin Wong (1946–99). Entitled My Trip MY TRIP to America by Martin Wong, the book presents an expanded perspective on Wong’s practice through the inclusion of rarely seen reproductions of his photographs, poems, drawings, essays, recollections, and correspondence. A transcript of a lecture given by the artist at San Francisco Art Institute in T 1991 rounds out the picture of an impassioned practitioner A O working at what, at the time, appeared to be the margins of the M art world—but what today would be acknowledged as some ERIC of the most fertile grounds of the twentieth century’s cultural production: the streets of San Francisco and New York. A BY M BY A R T IN WONG Annotated cover of Splash magazine, April 1989. Text: Martin Wong, photo: Ken Nahoum. Reproduction rights courtesy Jordan Crandall. Image courtesy The Martin Wong Papers; Series II; Box 2; Folder 89; Fales Library and Special Collections, New York University Libraries. MY TRIP TO AmERICA BY MARTIN WONG Edited by CAITLIN BURKHART and JULIAN MYERS-SZUPINSKA CONTENTS foreword 4 Leigh Markopoulos my trip to america by martin wong 9 Alia al-Sabi and the Editors the actionability of the archive 19 Tanya Gayer and Julian Myers-Szupinska works by martin wong 27 martin wong, “it’s easier to paint a 89 store if it’s closed.” Introduced and edited by Caitlin Burkhart the dynamic: martin wong and 103 the asian american community Rui Tang whatusi in san francisco 113 Amelia Brod in conversation with two of the Angels of Light spring begins today! 123 Stuart Krimko index of images 131 works in the exhibition 133 acknowledgements 139 colophon 140 2 FOREWORD Leigh Markopoulos To navigate this encryption, communication with those who knew and loved Wong proved a significant resource for the orga- nizers of this exhibition during their research.
    [Show full text]
  • Assimilation and Hip-Hop
    Assimilation and Hip-Hop Interethnic Relations and the Americanization of New Immigrants in Hip-Hop Culture By Audun Kjus Aahlin A Thesis Presented to The Department of Literature, Area Studies and European Languages -North American Area Studies- -Faculty of Humanities- University of Oslo In Partial Fulfillment of the Requirements for the MA Degree Spring 2013 Assimilation and Hip-Hop Interethnic Relations and the Americanization of New Immigrants in Hip-Hop Culture II © Audun Kjus Aahlin 2013 Interethnic Relations and the Americanization of New Immigrants in Hip-Hop Culture Audun Kjus Aahlin http://www.duo.uio.no/ Print: CopyCat, Lysaker in Oslo III Acknowledgements It would not be hip-hop without a lot of shout-outs. So… I will like to thank my supervisor, Associate Professor David C. Mauk for his encouragements and advises. I also need to acknowledge Associate Professor Deborah Lynn Kitchen- Døderlein for some needed adjustments in the early part of this project. I am much grateful to Terje Flaatten, who proofread the thesis. Thank you for taking the time out of your busy schedule. Thank you to the John F. Kennedy Institute for North American Studies in Berlin, who let me use their facilities last autumn. I am also grateful to Espen Sæterbakken for his help with the printing of my thesis. Appreciations are also due to Jeff Chang, The Mind Squad, Nelson George, Bakari Kitwana, ego trip, Dream Hampton, and the countless other journalists, writers, scholars and activists who taught me at an early age that few things in life are better combined than hip-hop and intellectual writings.
    [Show full text]