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“Beyond 'Spanglish'”: Ideologies of Language and Identity in Bilingual Chicana/O Cultural Production a Dissertation Subm

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“Beyond 'Spanglish'”: Ideologies of Language and Identity in Bilingual Chicana/O Cultural Production a Dissertation Subm “BEYOND ‘SPANGLISH’”: IDEOLOGIES OF LANGUAGE AND IDENTITY IN BILINGUAL CHICANA/O CULTURAL PRODUCTION A DISSERTATION SUBMITTED TO THE DEPARTMENT OF IBERIAN AND LATIN AMERICAN CULTURES AND THE COMMITTEE ON GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN SPANISH Doris Margot Madrigal May 2010 © 2010 by Doris Margot Madrigal. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/ns580hx8058 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Guadalupe Valdes, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Yvonne Yarbro-Bejarano, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. J. Brotherston I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ramon Saldivar Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format. An original signed hard copy of the signature page is on file in University Archives. iii Abstract Prompted by the following research question: How is the relationship between language and identity conceptualized, articulated, and represented in cultural productions by, for, and about Chicana/os?, this dissertation interrogates linguistic assumptions and expectations of Chicana/o identities. By foregrounding the study of bilingualism in analyses of coming-of-age novels, autobiographical narratives, and feminist writing, it argues for the identification of language ideologies in Chicana/o cultural production. Doing so allows for the necessary examination of social constructions of language and the systems of power they reproduce within Chicana/o cultural studies, as well as the recalibration of limiting linguistic expectations of Chicana/o identity. The first chapter presents a conceptual framework based on the study of bilingualism, identity work, language ideologies, and Chicana/o cultural studies as a critical entry into the analysis of representations of bilingualism and/or bilingual representations. The second chapter compares the proto-Chicano development of bilingualism and Mexican American identity in the protagonists and texts of José Antonio Villareal’s Pocho and Américo Paredes’s George Washington Gómez. The third chapter elucidates the intricate identity work required to choose and maintain a bilingual Chicana/o identity in Ernesto Galarza’s Barrio Boy, Arturo Islas’s The Rain God, and Sandra Cisneros’s Caramelo. The fourth chapter examines the conflictive relationship to Spanish as a heritage language in writings by Michele Serros, Gloria Anzaldúa, Cherríe Moraga, and Vida Mía García that scrutinize the negation of bilingual Chicana/o identities. iv Acknowledgments In our Mexica/Aztec teachings every thought and act is an opportunity for gratitude and prayer. I offer these words in this tradition, recognizing those who have touched my life and contributed to my accomplishments in the completion of this dissertation. I give thanks for the blessings and honor of having these individuals in my life; without them, I would have forgotten how to appreciate the challenges set before me and the beauty of perseverance. Tlazocamati ~ Gracias ~ Thank You To my querida familia. Despite physical distance, they have deeply and gracefully shared in all my doctoral turmoil; I dedicate my greatest achievement—this dissertation—to: Gloria Beatriz Madrigal (my mother, the strongest woman I will ever know), Carlos Alejo Madrigal (my father and role model for quiet but steady progress), and Alejandro Madrigal (my brother and absolute favorite person in the entire world). To my dissertation committee who through their academic and personal mentorship helped shape me into a better student, teacher, scholar, activist, and human being: Professor Guadalupe Valdés, Professor Yvonne Yarbro-Bejarano, Professor James Gordon Brotherston, and Professor Ramón Saldívar. To all my friends who sensibly kept me grounded and consistently gave me strength as I ventured the realms of academia: Gabriela Ulloa, José Escalante, Jessica Reveles, Ivan Pérez, María Luisa Ruíz, Patricia García, María del Carmen Cifuentes, Atezcazolli Nelda Pérez… To every spirit in danza Mexica whose giving energy has selflessly guided my soul, when disturbed, to harmony: Iztacoatl Carol Ruvalcava, Xochitecpatl Victor Juárez, Yaocuauhtli Danza Cultural, and Calpulli Tonalehqueh To all my colleagues who expressed sincere interest and kind words of support for the fulfillment of my academic goals at: El Centro Chicano, Comparative Studies for Race and Ethnicity Program and Research Institute, Lucille Packard Children’s Hospital Interpreter Services, Department of Spanish and Portuguese, and Nuestra Casa. To my immensely patient and relentlessly optimistic dualidad for his presence and love: Tinechpactia nomaza Tlahuitollini Ernesto Colín Álvarez Nehuatl in Tehuatl, Tehuatl in Nehuatl Yo soy Tú, Tú eres Yo ~ I am You, You are Me Ome Teotl v Table of Contents Introduction...................................................................................................................2 “Beyond ‘Spanglish’”: Ideologies of Language and Identity in Chicana/o Cultural Production Chapter One…………………………….…………………….……….…………….11 “(Re)Presenting Bilingualism: Bilingualism in Representation”: A Conceptual Framework for the Study of Bilingual Representation Chapter Two……………………………………….….……….…….……..………..71 “Growing up Bilingual; Growing up Proto-Chicana/o”: Bilingual and Mexican American Identity Development in Pocho and George Washington Gómez Chapter Three…………………………………….….……..……………….……..124 “Doing Being a Bilingual-Chicana/o”: Choosing and Maintaining Bilingual Chicana/o Identities in Barrio Boy, The Rain God, and Caramelo Chapter Four…………………………………………….....………...…………….184 “Not Bilingual/Chicana Enough”: Spanish as a Chicana/o Heritage Language in Michele Serros, Gloria Anzaldúa, Cherríe Moraga, and Vida Mía García Epilogue…….……………………………………………………………………….236 “Personal and Academic, and Vice Versa” Works Cited and Consulted……………………………………………………….242 Introduction Beyond “Spanglish”: Ideologies of Language and Identity in Bilingual Chicana/o Cultural Production During my first year of graduate studies I became overwhelmed by the realization that my Spanish language was being challenged by the type of discourses and interlocutors with which I was being asked to engage. Along with heightened insecurity in my language abilities I felt particularly disturbed by the perception I was developing of myself as a flawed English-Spanish bilingual: not quite proficient enough in either language for academia. My lived experience as a heritage language speaker of Spanish and circumstantial bilingual had become increasingly difficult in this realm of higher education, where I was forced to doubt my identity as a “true bilingual” when compared to the Latin American students and second-language learners that moved within these contexts and discourses with more perceived ease than me. It was through the study of bilingualism and sociolinguistics that I began to understand the various factors that had not only affected the perception of my and others’ language use, but also that these were indeed actual linguistic phenomena that many other individuals and communities experienced around the world. This knowledge then allowed me to re-conceptualize and validate my own linguistic lived experience as a Spanish-English bilingual and heritage speaker of Spanish. I have thus maintained a strong belief in the importance of understanding bilingualism and sociolinguistic phenomena in order to allow language users, particularly heritage language speakers and bilinguals, to reflect on their identities and how they view others. Although I felt confident in my formation within sociolinguistic theory, I had yet to clearly understand how to incorporate that knowledge base into literary criticism, which is the academic training I had received during my undergraduate studies and was further developing in pursuit of a graduate degree. The discord I felt between my training in bilingualism and sociolinguistics and how to position myself academically within cultural criticism was resolved by my introduction to Chicana feminist discourse. I have gravitated towards this academic discourse because it 2 centers and prioritizes lived experience as the space from which to dialogue. This tradition claims that it is both a right and necessity to interrogate one’s subject position as a cultural producer and/or academic before entering into critical practices. Chicana feminist discourse has offered me examples of critical self-awareness as a scholar; it not only discusses the bilingual topics I study, but through its first-person exposition presents personal statements about
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