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National Imaginary and Tropical Melancholy in Jessica Hagedorn’S Dogeaters♣
Concentric: Literary and Cultural Studies 31.1 (January 2005): 95-121. (Trans)National Imaginary and Tropical Melancholy in Jessica Hagedorn’s Dogeaters♣ Shu-ching Chen National Chung Hsing University Abstract This paper explores the Philippines’ specific condition of transnationality in Jessica Hagedorn’s novel Dogeaters. I use the linkage of the four terms—images, imagined community, social imaginary and the “identification imaginary” to examine the impact of global media on the nation’s process of reconstruction in the aftermath of American colonization. The first section concentrates on a sociopolitical investigation of the intri- cate relationship between global media and the nation-state in the construction of an “imagined community” based upon the cultural logic of “the spectacle.” I argue that the cultural logic of the society of the spectacle serves as a codified ground for the social production of meaning, which becomes a new form of Foucauldian technique of power. The paper’s second section turns to an in-depth psychoanalytical investigation of the trauma of loss and national melancholy hidden beneath the glossy surface of a society of the spectacle. Drawing upon Žižek’s ideas of uncanniness and surplus enjoyment in modernity, LaCapra’s distinction between absence, loss and lack, and Freud’s mourning and melancholia, this section argues that the revealing of the trauma of the society of the spectacle through magic realistic accounts sets in motion a journey toward healing and awakening. Keywords Jessica Hagedorn, Dogeaters, Filipino-American literature, transnation, imagined community, social imaginary, the society of the spectacle, Synopticon, melancholy ♣ This article is based upon the findings of a project funded by a National Science Council research grant (NSC 92-2411-H-005-005-BI). -
Final MA Portfolio
Bowling Green State University ScholarWorks@BGSU Master of Arts in English Plan II Graduate Projects English Fall 12-10-2018 Final MA Portfolio Ryan Wright Bowling Green State University, [email protected] Follow this and additional works at: https://scholarworks.bgsu.edu/ms_english Repository Citation Wright, Ryan, "Final MA Portfolio" (2018). Master of Arts in English Plan II Graduate Projects. 30. https://scholarworks.bgsu.edu/ms_english/30 This Dissertation/Thesis is brought to you for free and open access by the English at ScholarWorks@BGSU. It has been accepted for inclusion in Master of Arts in English Plan II Graduate Projects by an authorized administrator of ScholarWorks@BGSU. FINAL MASTER’S PORTFOLIO Ryan D. Wright [email protected] A Final Portfolio Submitted to the English Department of Bowling Green State University in partial fulfillment of the requirements for the degree of Master of Arts in the field of English with a specialization in Literary and Textual Studies December 10, 2018 Dr. Piya Pal Lapinski, First Reader Ms. Kimberly Spallinger, Second Reader 2 Table of Contents Analytical Narrative ……………………………………………………………………...……….3 Damaged Bodies in a Poisoned Land: Cerezita's Reclaiming of Collective Identity in Cherríe Moraga’s Heroes and Saints …………..8 Fashioning Disability, Creating (In)Visibility in Alexander McQueen’s “No. 13”……………..17 Fashioned Bodies in Trans/National Translation: Negotiating Queer Puerto Rican Identities in Mayra Santos-Febres’s Sirena Selena …………..32 Commodification of Female Beauty and the Queer Body in Jessica Hagedorn’s Dogeaters .….47 3 Analytical Narrative When I applied to the Master of Arts program in English with a specialization in Literary and Textual Studies at Bowling Green State University, I was completing a graduate program at another institution in English with a concentration in English as a Second Language. -
Return Effects, Screen Memories, and Figures of Exile in 20Th Century Filipino American Literature
UNIVERSITY OF CALIFORNIA, IRVINE Haunting the Metropole: Return Effects, Screen Memories, and Figures of Exile in 20th Century Filipino American Literature DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Comparative Literature by Mark Phillip Acutina Pangilinan Dissertation Committee: Assistant Professor Adriana Michele Campos Johnson, Chair Professor Jane O. Newman Assistant Professor Christine Bacareza Balance 2014 © 2014 Mark Phillip Acutina Pangilinan DEDICATION To: my mother, Jennifer Acutina Yatco, who waited and my father, Alberto Torrelino Pangilinan, who marched on Mendiola In Memoriam: my stepfather, Antonio Nicolas Lim Yatco 1960 - 2009 and my mentor, Tracey Teets Schwarze 1961 - 2010 ii TABLE OF CONTENTS Page ACKNOWLEDGMENTS iv CURRICULUM VITAE vi ABSTRACT OF THE DISSERTATION viii INTRODUCTION: 1 “All things that ghost our time”: Recalcitrant Memory, Troubled Time, and Subversive Life in the Philippine-American Context CHAPTER 1: 23 Haunted “Nevertheless—”: Unstable Origins, Figures of Exile, and the Poetics of Persistence in Jessica Hagedorn’s Dream Jungle CHAPTER 2: 58 “The Monkeys Have No Tails in Zamboanga”: Balikbayan Tourism, Cinematic Memory, and the Politics of the Postnational in R. Zamora Linmark’s Leche CHAPTER 3: 111 “Panahon ng Digma”: Grief, Revolt, and (Life)Times of War in Joi Barrios’ Bulaklak Sa Tubig AFTERWORD: 154 “Hindi ka nag-iisa. You are not alone”: Noynoy Aquino’s inherited revolution and the dream of the national BIBLIOGRAPHY 169 REFERENCES (OR BIBLIOGRAPHY) 240 iii ACKNOWLEDGMENTS I am grateful and deeply humbled by the mentors, colleagues, friends, and family that have seen me through my graduate student career and the completion of this project. -
Can the Queer Subaltern Speak?
Criterion: A Journal of Literary Criticism Volume 7 Issue 1 Article 11 2014 Can the Queer Subaltern Speak? Jennifer Duque Follow this and additional works at: https://scholarsarchive.byu.edu/criterion BYU ScholarsArchive Citation Duque, Jennifer (2014) "Can the Queer Subaltern Speak?," Criterion: A Journal of Literary Criticism: Vol. 7 : Iss. 1 , Article 11. Available at: https://scholarsarchive.byu.edu/criterion/vol7/iss1/11 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Criterion: A Journal of Literary Criticism by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Can the Queer Subaltern Speak? Neocolonial Spectacle and Queer Commodification in Dogeaters Jennifer Duque In Jessica Hagedorn’s Dogeaters, the only first-person narrators in its dazzling, postmodern pastiche of radio drama, newspaper clippings, nineteenth-century anthropological investigations, tsismis,1 political intrigue, and family letters are encoded as queer. The novel intermittently follows the coming-of-age story of Rio Gonzaga, the mestiza daughter of an upper-class, politically powerful family, who begins the novel with fragmented recollections of her childhood in Manila in the 1950s.2 Joey Sands, the abandoned son of a Filipina prostitute and an African-American soldier, is a sex worker and junkie who joins the guerilla resistance movement. In addition to their queerness, Rio and Joey share two other traits in common: both have inherited a parentage embroiled in the convoluted, often humiliating, history of (neo)colonialism, and both harbor strong identification with the spectacle (radio dramas, cinema, movie stars, entertainment, etc.). -
Dogeaters: a Postcolonial Critique
Postcolonial Text, Vol 5, No 2 (2009) Gender, Language, and Identity in Dogeaters: A Postcolonial Critique Savitri Ashok Middle Tennessee State University Gender Oppression and Postcoloniality Jessica Hagedorn’s 1990 novel is set in postcolonial Philippines, during the years of nation building and martial law under President Ferdinand Marcos, who ruled Philippines from 1965 to 1986. Nationalism, as it appears in the revisionary history of Dogeaters, continues the oppression of colonialism by remolding the binary paradigm on which the colonial conquests were based. If the imperialist patriarchy justified its colonizing endeavors by presenting the conquered as the different, savage, inferior and exotic other, nationalism involves a concerted attempt at the recovery of the manhood lost in colonization, projecting woman as the other, to be gazed at, tamed, conquered, and enjoyed. Nation building in postcolonial Philippines becomes a search for recovering a lost masculinity for the indigenous men of power. Hagedorn’s feminism opens up a site in the text for a succinct critique of the anti-woman tendencies inhering in nationalism. The patriarchal, forked imaging of the woman as the virgin or the whore is replicated in some of the novel’s women-characters. The female figures in Filipino postcolonial society portrayed by Hagedorn embody the “patriarchal contradictions [and] bring together the dichotomized icons of idealized femininity and degraded whoredom, of feminine plenitude and feminine lack” (Chang 639-40). Zenaida, “Mother of a whore” and “a whore of a mother” (Hagedorn, Dogeaters 205) is a disembodied “deviant, impure femininity” (Chang 640), appearing in the background haze of the novel, a ghostly figure trampled by patriarchy. -
Queer Love and Urban Intimacies in Martial Law Manila Robert G
Queer Love and Urban Intimacies in Martial Law Manila Robert G. Diaz This article examines certain representations of Metropolitan Manila and the city’s queer intimacies during Martial Law. In particular, it analyzes Ishmael Bernal’s film Manila By Night (1980) and Jessica Hagedorn’s novel Dogeaters (1990). Released during a time when the Marcoses secured rule through an over-production of their “love team,” and by IMF supported justifications for molding a “beautiful and efficient” Manila, Manila By Night challenges disciplinary plans for the city and its populace through the presence of queer characters that unabashedly love the dirty, dysfunctional and impoverished city. In a similar vein, Dogeaters incorporates characters that practice queer love as they navigate a version of Manila antithetical to the one the government and the neo-colonial elite produced for the West. Although coming from different genres, it is perhaps unsurprising that both Manila by Night and Dogeaters center on Manila as the quintessential space for queer revolutionary politics. Bernal and Hagedorn re-imagine Manila as connecting militant forms of queerness across geo-political spaces and temporalities. Both works also highlight the utility of a queer diasporic framework to understanding revolutionary politics during dictatorial rule. Keywords: Martial Law, Manila, intimacy, love, queerness, dictatorship Lahat nga mga tao sa mundo loko-loko, di ba? Yung mga mukhang ihinaharap nila sa atin, di naman nila tunay na mukha, di ba? Maraming mukha yang mga tao, may mukhang pang pamilya, may mukhang pang barkada, pang asawa, pang girlfriend, pang swardfriend, etcetera, etcetera, etcetera, di ba? Iba yan ng iba, di ba? Patong-patong.