Sandra Cisneros
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Interviewing Sandra Cisneros: Living on the Frontera*
INTERVIEWING SANDRA CISNEROS: LIVING ON THE FRONTERA* Pilar Godayol Nogue Sandra Cisneros is the most powerful representative of the group of young Chicana writers who emerged in the 19805. Her social and political involvement is considerably different from that of Anaya and Hinojosa, the first generation of Chicano writers writing in English. She has a great ability to capture a multitude of voices in her fiction. Although she was trained as a poet, her greatest talents lie in storytelling when she becomes a writer of fiction. Sandra Cisneros was bom in Chicago in 1954. Her first book of fiction, The House on Mango Street (1984), is about growing up in a Latino neighbourhood in Chicago. Her second book of short stories, Woman Hollering Creek (1991), confinns her stature as a writer of great talent. She has also published two books of poetry, My WICked Wicked Ways (1987) and Loose Woman (1994). My interest in her work sprang from her mixing two languages, sometimes using the syntax of one language with the vocabulary of another, at other times translating literally Spanish phrases or words into English, or even including Spanish words in the English text. This fudging of the roles of writer and translator reflects the world she describes in her novels where basic questions of identity and reality are explored. Pilar Godayol. Your work includes mixed-language use. How do you choose when to write a particular word in English or Spanish? Sandra Cisneros. I'm always aware when I write something in English, if it sounds chistoso. I'm aware when someone is saying something in English, or when I am saying something, of how interesting it sounds if I translate it. -
Unworking Community in Sandra Cisneros' the House on Mango Street
Revista de Estudios Norteamericanos, nº 18 (2014) Seville, Spain. ISSN 1133-309-X, pp 47-59 “GUIDING A COMMUNITY:” UNWORKING COMMUNITY IN SANDRA CISNEROS’ THE HOUSE ON MANGO STREET GERARDO RODRÍGUEZ SALAS Universidad de Granada [email protected] Received 6th March 2014 Accepted 7th April 2014 KEYWORDS Community; Cisneros; Chicano literature; immanence; transcendence PALABRAS CLAVE Comunidad; Cisneros; literatura chicana; inmanencia; transcendencia ABSTRACT The present study revises communitarian boundaries in the fiction of Chicana writer Sandra Cisneros. Using the ideas of key figures in post-phenomenological communitarian theory and connecting them with Anzaldúa and Braidotti’s concepts of borderland and nomadism, this essay explores Cisneros’ contrast between operative communities that crave for the immanence of a shared communion and substantiate themselves in essentialist tropes, and inoperative communities that are characterized by transcendence or exposure to alterity. In The House on Mango Street (1984) the figure of the child is the perfect starting point to ‘unwork’ (in Nancy’s terminology) concepts such as spatial belonging, nationalistic beliefs, linguistic constrictions, and gender roles through a selection of tangible imagery which, from a female child’s pseudo-innocent perspective, aims to generate an inoperative community beyond essentialist tropes, where individualistic and communal drives are ambiguously intertwined. Using Cisneros’ debut novel as a case study, this article studies the female narrator as embodying both -
A Case for Relational Identity in Sandra Cisneros's the House on Mango Street
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2008-11-08 Rethinking the Historical Lens: A Case for Relational Identity in Sandra Cisneros's The House on Mango Street Annalisa Wiggins Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the English Language and Literature Commons BYU ScholarsArchive Citation Wiggins, Annalisa, "Rethinking the Historical Lens: A Case for Relational Identity in Sandra Cisneros's The House on Mango Street" (2008). Theses and Dissertations. 1649. https://scholarsarchive.byu.edu/etd/1649 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Rethinking the Historical Lens: A Case for Relational Identity in Sandra Cisneros’s The House on Mango Street by Annalisa Waite Wiggins A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Department of English Brigham Young University December 2008 BRIGHAM YOUNG UNIVERSITY GRADUATE COMMITTEE APPROVAL of a thesis submitted by Annalisa Waite Wiggins This thesis has been read by each member of the following graduate committee and by majority vote has been found to be satisfactory. ______________________________ ____________________________________ Date Trenton L. Hickman, Chair -
6Th Grade- the House on Mango Street by Sandra Cisneros 7Th Grade-Schooled by Gordon Kormon 8Th Grade- Sarny by Gary Paulsen
This summer, students in Grades 6-12 will be required to read the book listed below. Each novel is assigned based on the grade they are coming into for the 2015-2016 academic school year. During the first week of school, the students will be given a reading comprehension Test on their assigned novel by their English/Language Arts teacher. In addition to the novel test, they will also be responsible for an Oral Presentation which will take place during the first week of school as well. These will be the first two grades for the first nine weeks and will count as a Test (40%) and a Project (30%) grade. Students in AP Language & AP Literature: Follow the Summer Project – AP English instructions outlined on the school website. **NOTE: Novels can be purchased at Barnes and Noble Bookstore / bn.com, Amazon.com, etc…** 6th grade- The House on Mango Street by Sandra Cisneros * Bring in your novel to class on the first day of school for class assignment and essay. 7th grade-Schooled by Gordon Kormon * Bring in your novel to class on the first day of school for class assignment and essay. 8th grade- Sarny by Gary Paulsen * Bring in your novel to class on the first day of school for class assignment and essay. English I- Speak by Laurie H. Anderson * Bring in your novel to class on the first day of school for class assignment and essay. English II- Fahrenheit 451 by Ray Bradbury * Bring in your novel to class on the first day of school for class assignment and essay. -
Lauro Flores
Lauro Flores Department of Romance Languages and Literatures University of Washington Seattle, W A 98195 Visible Language XXI 1 (Winter 1987) Lauro Flores, pp.130-152 ©Visible Language, Wayne State University Press, Detroit, MI 48202 The contact and interaction of English and Spanish, of Mexican and Anglo-American cultures, lies at the heart of the Chicano experience in the United States. Accordingly, code-switching has been a salient feature of many Chicano literary works. The simulta neous incorporation of both languages into poetry and other artistic forms is sometimes interpreted as an expression of the ambiguity permeating the historical evolution of this people. However, it can also be explained as part of the Chicanos' attempt to achieve cultural definition and autonomy in a con flicting reality. 131 II The author gratefully The historical context. acknowledges the support he received from the Institute for Ethnic Studies in the Any brief reference to Chicano poetry is bound to United States, University of refer the uninformed reader almost exclusively to Washington. It made the literary production loosely associated with the possible the completion of Chicano movement - poetry written during the last this and other projects. two decades. Until recently, the general contention, or at least the assumption on the part of many critics and literary historians, was that before the 1960s there was no literature written by people of Mexican descent in the United States. Nothing could be farther from the truth. While it is clear that the Chicano movement came to foment and revitalize the artistic endeavors of Chicanos during the last twenty years, subsequent research has demonstrated that the production of literature is hardly a new activity for this group. -
From Within the Frame: Storytelling in African-American Fiction
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1998 From within the frame: Storytelling in African-American fiction Bertram Duane Ashe College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Literature Commons Recommended Citation Ashe, Bertram Duane, "From within the frame: Storytelling in African-American fiction" (1998). Dissertations, Theses, and Masters Projects. Paper 1539623921. https://dx.doi.org/doi:10.21220/s2-s19x-y607 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. INFORMATION TO USRRS This manuscript has been reproduced from the microfilm master. U M I films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type o f computer printer. The quality o f this reproduction is dependent upon the quality o f the copy submitted* Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send U M I a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
The Framing of Charles W. Chesnutt: Practical Deconstruction in the Afro-American Tradition
Studies in English, New Series Volume 9 Article 3 1-1-1991 The Framing of Charles W. Chesnutt: Practical Deconstruction in the Afro-American Tradition Craig Werner University of Wisconsin Follow this and additional works at: https://egrove.olemiss.edu/studies_eng_new Part of the American Literature Commons Recommended Citation Werner, Craig (1991) "The Framing of Charles W. Chesnutt: Practical Deconstruction in the Afro-American Tradition," Studies in English, New Series: Vol. 9 , Article 3. Available at: https://egrove.olemiss.edu/studies_eng_new/vol9/iss1/3 This Article is brought to you for free and open access by the English at eGrove. It has been accepted for inclusion in Studies in English, New Series by an authorized editor of eGrove. For more information, please contact [email protected]. Werner: The Framing of Charles W. Chesnutt THE FRAMING OF CHARLES W. CHESNUTT: PRACTICAL DECONSTRUCTION IN THE AFRO-AMERICAN TRADITION Craig Werner University of Wisconsin First, three quotations. “Under exegetical pressure, self-reference demonstrates the impossibility of self-possession. When poems denounce poetry as lies, self-referentiality is the source of undecidability, which is not ambiguity but a structure of logical irresolvability: if a poem speaks true in describing poetry as lies, then it lies; but if its claim that poems lie is a lie, then it must speak true.”—Jonathan Culler, On Deconstruction: Theory and Criticism after Structuralism (202). “They ain’t no different from nobody else....They mouth cut cross ways, ain’t it? Well, long as you don’t see no man wid they mouth cut up and down, you know they’ll all lie jus’ like de rest of us.”—Zora Neale Hurston, Mules and Men (22). -
Writing and Literature: 21 Credits Required
WRITING AND LITERATURE: 21 CREDITS REQUIRED ENG270 Introduction to Poetry [Required Course] 3 credits This course introduces students to the formal conventions of poetry as well as the basic elements that work to create a poem. Poems from different countries and different historical periods will be explored, at times from different critical perspectives. Works by such poets as William Shakespeare, John Donne, Walt Whitman, Emily Dickinson, W.B. Yeats, Langston Hughes, e.e. cummings, Federico Garcia Lorca, Adrienne Rich, Audre Lorde, Leslie Marmon Silko, and Gary Soto will be discussed. ENG295 World Literatures Written in English [Required Course] 3 credits This capstone course introduces students to postcolonial literatures of the Anglophone diaspora. Texts may include literary works from Africa, South and Southeast Asia, Australia, Canada, the Caribbean, Ireland, and New Zealand. Students will examine world literatures in their historical and cultural contexts. In some semesters, the course may focus on one particular geographical region and/or ethnic group. Choose two of the following courses: ENG289 Introduction to Literary Critical Studies 3 credits Students read, discuss and write analytic essays about important texts in literary critical theory. They also learn to apply critical methods to specific literary texts. Some theorists covered might include Aristotle, Immanuel Kant, T.S. Elliot, Mikhail Baktin, Walter Benjamin, Jacques Lacan, Jacques Derrida, Michel Foucault, Elaine Showalter, Helene Cixous, Edward Said, Henry Louis Gates and Judith Butler. ENG290 British Literature I 3 credits This course covers the development of early British Literature from the Anglo-Saxon era to 1660. Authors include, among others, the Beowulf poet, Chaucer, Mary Sidney, Spenser, Shakespeare, Donne, and Milton. -
'Avoiding Closure' and 'Postmodern Temporality' in Barth's 'On with the Story'
„Avoiding Closure‟ and „Postmodern Temporality‟ in Barth‟s „On with the Story’ [PP: 135-140] Mojgan Abshavi (Corresponding author) Department of English, Payam-e-Noor University Iran Mahboobeh Taghvaei Payam-e-Noor University Iran ABSTRACT Postmodern temporality in literature, as it involves non-linear time and narration, creates a discrepancy between the narrated time and the temporal time of narration, and thus the order of events within a story are playfully dealt with. Complexities become more when there is no sense of ending in such stories. John Barth‟s „On with the Story’ proves a good case in point in reflecting the poetics of postmodernism by manipulating nonlinear progression of time with multidimensional, discrete, and game-like temporality in creating flickering textual constructions, especially when he puts no endings for his stories and avoids closure to mirror the breakdown of traditional narrative values. Accordingly, the present paper tries to highlight Barth‟s narrative techniques in foregrounding nonlinearity and open-endedness in his „On with the Story’. As such, the aim of the study is to determine to what degree Barth‟s play with time and narration echo postmodern concerns and how is possible to make sense of a postmodern story by investigating into its textual structure than the mere course of events. Barth‟s achievement in the postmodern ground in this story, just like his other ones, not only challenges traditional narrativity and temporality but also presents the reader with a new sense of understanding reality as it is happening around us. Keywords: Non-linear Time, John Barth, On with the Story, Multiple Endings, Postmodern Temporality ARTICLE The paper received on Reviewed on Accepted after revisions on INFO 12/09/2017 10/10/2017 17/12/2017 Suggested citation: Abshavi, M. -
Sandra Cisneros
Sandra Cisneros Sandra Cisneros is a writer whose exuberant prose and spirited activism have made her one of literature’s best-loved figures. Among the first Latinas ever published by a major house, she has tackled subjects such as race, class, border-crossing and feminism with empathy and a language that is unique in American letters. Her debut novel, “The House on Mango Street,” sold more than six million copies, was translated into more than 20 languages, and has become required reading in high schools and colleges across the United States. Subsequent endeavors and acclaim elevated Cisneros into a cultural icon. She has published in every genre, including the poetry collections “My Wicked, Wicked Ways (1987) and “Loose Woman” (1994); the 1991 short story collection “Woman Hollering Creek”; the 1994 dual- language children’s book “Hairs/Pelitos”; the 2002 novel “Caramelo”; and the 2012 picture book for adults “Have You Seen Marie?” Library Journal deemed her latest book, “A House of My Own,” the best memoir of 2015. Although storytelling is her chief pursuit, Cisneros doesn’t just nurture the artist within. Soon after the MacArthur Foundation awarded her a Genius Grant in 1995, she established the Macondo Foundation, which champions writers around the world who share her commitment to social justice. In addition to holding workshops and readings, the Macondo also offers financial support for artists “in need of time to heal their body, heart or spirit.” She also organized her fellow Latina-Latino “MacArturos” into an ongoing group of doers who meet regularly to inspire communities in need. -
A Clash Between Game and Narrative
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Chicana/O Latina/O Literature
Chicana/o Latina/o Literature Contacts 1. District Information Coachella Valley Unified School District 2. Course Contact A. Cover Page 1. Course Title Chicano Latino Literature 2. Transcript Title Chicano Latino Literature 3. Transcript Course Code Chicano/Latino Lit 4. Seeking Honors Distinction? (HS Only) No 5. Subject Area English “B” 6. Grade Levels 9th, 10th, 11th, 12th 7. Unit value 1.0 (one year, 2 semesters, or 3 trimesters equiv) 8. Was this course previously approved by UC? (HS Only) Yes. Berkeley High School (050290) 9. Is this course, or any section of this course, taught in an No online learning environment? 10. Is this course classified as a Career Technical No Education course: (HS Only) 11. Brief Course Description In this literature course, we will take an exciting journey through Chicana/o Latina/o Literature. We will explore how this literature affects, documents, and creates Chicana/o Latina/o identities, politics, and the epistemologies/subjectivities of Chicana/o Latina/o authors in the United States. Through our journey we will use novels, short stories, poetry, performance, screenplays, comedy, spoken word, theatre, essays, music, and film to examine the diversity of themes, issues, and genres within the "Community" and the legacy and development of a growing “Chicana/o Latina/o Cultural Renaissance." We will also use critical performance pedagogy to engage particular problems in the literature and in the community. Through group/team work, community service, and interactive lectures and discussions we will delve into the analysis, accessibility, and application of Chicana/o Latina/o literature. We will ask questions around the issues of--and intersections between--gender, race, ethnicity, sexuality, class, language, religion, tradition, colonization, access, citizenship, migration, culture, ideology, epistemology, politics, and love.