Em um mundo cada vez mais transnacional e multicultural, a identidade cultural é formada por meio de um processo constante de mobilidade e deslocamentos, resultando na formação de identidades culturais diaspóricas. Tais identidades culturais híbridas e heterogêneas se caracterizam por travessias de fronteiras e limitações impostas à construção da subjetividade. O presente estudo consiste em uma análise interpretativa de representações de identidades culturais diaspóricas em dois escritos autobiográficos ficcionais: Borderlands/La Frontera: The New Mestiza (1987), de Gloria Anzaldúa e Zami A New Spelling of my Name, a biomythography (1982), de Audre Lorde. As representações de identidades culturais diaspóricas desenvolvidas em ambos os textos produzem efeitos que desestabilizam a política de representação da identidade cultural articulando identificações e desejos informados por hibridismo e diferença bem como reconstruindo a categoria da experiência e a produção do conhecimento através da ficcionalização da construção da identidade. O objetivo é investigar como as vozes narrativas projetam representações de identidades culturais diaspóricas simultaneamente resistentes e marginais em relação à cultura hegemônica. Tais representações são analisadas à luz do seguinte referencial teórico: a reconstrução da categoria da experiência de Joan Scott; a teoria dos conhecimentos situados de Donna Haraway; e uma estratégia crítica que propõe uma intersecção entre argumentos advindos do pensamento feminista e pós-moderno, que postulam a identidade como um constructo fluído, múltiplo, e instável, sustentada em The Politics of Postmodernism, de Linda Hutcheon; a coleção de ensaios editada por Linda Nicholson, Feminism/Postmodernism; e The Postmodern Condition, de Jean-François Lyotard. O referencial teórico oferece uma perspectiva privilegiada para a investigação de representações de identidades culturais que questionam a concepção de identidade como fixa autônoma e anterior ao contexto sócio-histórico no qual a identidade e sua representação são formadas. / In an increasingly transnational and multicultural world, cultural identities are shaped through a constant process of mobility and displacements, resulting in the formation of diasporic cultural identities. These hybrid heterogeneous cultural identities are characterized by multiple crossings of borders and limitations imposed on the construction of a sense of subjectivity. The present study consists of an interpretative analysis of representations of diasporic cultural identities in two fictional autobiographical writings: Gloria Anzaldúa’s Borderlands/La Frontera: The New Mestiza (1987) and Audre Lorde’s Zami A New Spelling of my Name, a biomythography (1982). The representations of diasporic cultural identities developed in both texts produce disruptive effects on the politics of representation of cultural identity by articulating identifications and desires informed by hybridity and difference as well as reconstructing the category of experience and the production of knowledge through the fictionalization of the construction of identity. The objective is to investigate how the narrative voices project representations of diasporic cultural identities simultaneously resistant and “marginal” to the hegemonic culture. These representations are analyzed under the following theoretical framework: Joan Scott’s reconceptualization of the category of experience; Donna Haraway’s theory of situated knowledges; and a critical strategy that proposes an intersection of arguments derived from feminist and postmodern thinking, which posit identity as a fluid, multiple, and unstable construct, supported on Linda Hutcheon’s The Politics of Postmodernism; the collection of essays edited by Linda Nicholson, Feminism/Postmodernism; and Jean-François Lyotard’s The Postmodern Condition. The theoretical framework provides a privileged perspective to investigate representations of cultural identity that question the conception of identity as fixed, autonomous, and prior to the social-historical context in which identity and its representation are shaped.

Em um mundo cada vez mais transnacional e multicultural, a identidade cultural é formada por meio de um processo constante de mobilidade e deslocamentos, resultando na formação de identidades culturais diaspóricas. Tais identidades culturais híbridas e heterogêneas se caracterizam por travessias de fronteiras e limitações impostas à construção da subjetividade. O presente estudo consiste em uma análise interpretativa de representações de identidades culturais diaspóricas em dois escritos autobiográficos ficcionais: Borderlands/La Frontera: The New Mestiza (1987), de Gloria Anzaldúa e Zami A New Spelling of my Name, a biomythography (1982), de Audre Lorde. As representações de identidades culturais diaspóricas desenvolvidas em ambos os textos produzem efeitos que desestabilizam a política de representação da identidade cultural articulando identificações e desejos informados por hibridismo e diferença bem como reconstruindo a categoria da experiência e a produção do conhecimento através da ficcionalização da construção da identidade. O objetivo é investigar como as vozes narrativas projetam representações de identidades culturais diaspóricas simultaneamente resistentes e marginais em relação à cultura hegemônica. Tais representações são analisadas à luz do seguinte referencial teórico: a reconstrução da categoria da experiência de Joan Scott; a teoria dos conhecimentos situados de Donna Haraway; e uma estratégia crítica que propõe uma intersecção entre argumentos advindos do pensamento feminista e pós-moderno, que postulam a identidade como um constructo fluído, múltiplo, e instável, sustentada em The Politics of Postmodernism, de Linda Hutcheon; a coleção de ensaios editada por Linda Nicholson, Feminism/Postmodernism; e The Postmodern Condition, de Jean-François Lyotard. O referencial teórico oferece uma perspectiva privilegiada para a investigação de representações de identidades culturais que questionam a concepção de identidade como fixa autônoma e anterior ao contexto sócio-histórico no qual a identidade e sua representação são formadas. / In an increasingly transnational and multicultural world, cultural identities are shaped through a constant process of mobility and displacements, resulting in the formation of diasporic cultural identities. These hybrid heterogeneous cultural identities are characterized by multiple crossings of borders and limitations imposed on the construction of a sense of subjectivity. The present study consists of an interpretative analysis of representations of diasporic cultural identities in two fictional autobiographical writings: Gloria Anzaldúa’s Borderlands/La Frontera: The New Mestiza (1987) and Audre Lorde’s Zami A New Spelling of my Name, a biomythography (1982). The representations of diasporic cultural identities developed in both texts produce disruptive effects on the politics of representation of cultural identity by articulating identifications and desires informed by hybridity and difference as well as reconstructing the category of experience and the production of knowledge through the fictionalization of the construction of identity. The objective is to investigate how the narrative voices project representations of diasporic cultural identities simultaneously resistant and “marginal” to the hegemonic culture. These representations are analyzed under the following theoretical framework: Joan Scott’s reconceptualization of the category of experience; Donna Haraway’s theory of situated knowledges; and a critical strategy that proposes an intersection of arguments derived from feminist and postmodern thinking, which posit identity as a fluid, multiple, and unstable construct, supported on Linda Hutcheon’s The Politics of Postmodernism; the collection of essays edited by Linda Nicholson, Feminism/Postmodernism; and Jean-François Lyotard’s The Postmodern Condition. The theoretical framework provides a privileged perspective to investigate representations of cultural identity that question the conception of identity as fixed, autonomous, and prior to the social-historical context in which identity and its representation are shaped.

This thesis project explores Chicana feminist Gloria Anzaldúa's notion of a new mestiza consciousness, in which the marginalized ethnic American woman transcends her Otherness, breaks down the borders between her different identities, and creates a Thirdspace. Through the rehearsal and performance process, three ethnic American women employed Robert Scholes' model of textuality-the consumption and production of texts-as a framework to construct a new mestiza consciousness, and create a Thirdspace. The project set to determine what strategies were significant rehearsal techniques for encouraging the cast members to exercise textual power and claim a new mestiza identity, a Thirdspace. The results reveal four overarching factors involved in assuming textual power through rehearsal and performance in the production-building trust, having appropriate skills, assuming ownership and responsibility, and overcoming performance anxiety. The discussion addresses the direct link between Thirdspace and Scholes' notion of production of original texts.

Chicana Literature: A Feminist Perspective of Gloria Anzaldúa's Identity Politics Doctoral Thesis Mgr. et Mgr. Tereza Jiroutová Kynčlová 2017 ABSTRACT In the analyses executed in the present doctoral thesis, Chicana literary production emerges as a complex example of a strategic and reflexive instrumentalization of literature in the form of a political and activist tool contributing to Chicanas' gender and cultural emancipation on the one hand. On the other hand, within the Chicana/o context, literature is employed for perfecting the politics of recognition of the marginalized nation typified by the specificity of its geographic, cultural, and social location on the U.S.-Mexico border where a plethora of socially constructed categories interact and intersect. The doctoral thesis further provides a gender analysis of literary representations of Chicana/o lived experience by Chicana feminist writers in general and by Gloria Anzaldúa in particular, and investigates how these representations help shape feminist thought not only in relation to the U.S.-Mexico borderlands, but within and beyond the United States. Moreover, the thesis supplies an interpretation of Anzaldúa's reconceptualization of the border concept as a pertinent means for comprehending Chicanas'/os' socio-cultural context and for forging a...

What if the narrative of hope, in fact, is hopeless for the oppressed? Even oppressive? If hope is hopeless, can hope be found in the middle of hopelessness? The aim of this study is to define a hopeful and sustainable theology of hope for the oppressed.  This study is a literature analysis on three authors offering different perspectives on oppression, as well as various models of hope. By connecting the lynching era of black americans in Cross and the Lynching Tree by James H. Cone, theories on affect in relation to oppression in Grave attending by Karen Bray, and the conflict of borders and dualism in Borderlands by Gloria Anzaldúa the study seeks to discuss hope in relation to oppression.  The literary material is initially categorized by each author separately and analyzed with three identical topics. The first topic- Oppression, defines how each author describes oppression. In the second topic- The Utopian Hope, hope is problematized in relation to oppression in the light of models presented by the author. Ultimately the third topic, The Hope of Gap, seeks to define how hope for the oppressed can be found in between hopelessness and hope.  The analysis indicates several problematic effects of a dualistic view of hopelessness and hope, effects that rather result in hopelessness than hope. To form a hopeful theology for the oppressed the analysis instead emphasizes the importance of the gap inbetween as a vital link between hopelessness and hope. Each author addresses this with different models, but with similar functions in transcending dualisms. In relation to Cone the gap can be understood as telling the stories of hopelessness as a source of hope. Bray highlights the importance of the grave in the christian narrative, as the gap connecting the crucifixion and resurrection where emotional affects such as grief, anger, sorrow, anxiety and depression are expressed. Anzaldúa defines the gap as a borderland, nepantla, which is a hybrid and performative state of change and becoming that she means has been cut straight through by unnatural oppressive boundaries.  In conclusion a hopeful hope for the oppressed confirms hopelessness and hope, as mutually dependent in a dialectical relationship, rather than as antagonists.

In this study, I attempted to understand how a history of literacy in the U.S. continues to shape the ways in which Latino/a/e/x students learn in English classrooms today. Through the work of scholars such as Gloria Anzaldúa and Ofelia Garcia and with authors such as Richard Rodriguez, Judith Ortiz Cofer, and Lorna Dee Cervantes, I have come to believe that Latino/a/e/x students often experience years of an education system that views literacy so narrowly that it can silence languages that do not fit the perceived academic language of standard English. To understand what an expanded view of literacy could possibly look like in this study, I turned to scholars including The New London Group (1996), Cary Jewitt (2017), and Gunther Kress (2017) who study multimodality, as well as other researchers who examine digital literacies, particularly digital storytelling, in both formal and informal spaces. I did this in an effort to understand how multimodality and narrative might impact my Latino/a/e/x students’ learning and creative processes in the classroom. In this study, I wanted to learn what happens when the notion of literacy is expanded in my classroom and my Latino/a/e/x college students incorporate digital literacies to create their own digital stories in our English composition class. More specifically, I wanted to have a clearer understanding of the processes students experience as they embark on their digital storytelling journey. What I have learned throughout this journey is that digital storytelling does, indeed, offer another lens through which to view Latino/a/e/x students in my English composition classroom and their work and that perhaps it is time to see how digital storytelling might fit into the larger field of English education.

La elección de los autores y obras aquí estudiados se debe a que son parte de una experiencia, epistemología y concepto de arte "orillas", de los "márgenes", entendido como una perenne oscilación, travesía y recorrido entre los dos lados de las orillas/márgenes. Los autores elegidos son habitantes de varios mundos, al menos de dos, y este "entremedios", esta producción en las intersecciones, es lo que marca su escritura, discurso y performances, en definitiva, su forma de producción.

Orientador: Maria Viviane do Amaral Veras / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-20T03:48:21Z (GMT). No. of bitstreams: 1 Bueno_ThaisRibeiro_M.pdf: 823992 bytes, checksum: c6729e69eab67c4473cd6a137925372d (MD5) Previous issue date: 2012 / Resumo: Historicamente, a tradução tem sido pensada em função de pares dicotômicos (original/tradução; autor/tradutor; domesticação/estrangeirização; língua-fonte/línguaalvo), raciocínio que revela a crença na possibilidade de uma língua homogênea e estanque. Contudo, em comunidades cuja política e sociedade são fortemente marcadas por fatores de heterogeneidade étnica e linguística, tal crença fica abalada, sobretudo, quando se nota a enorme diversidade de línguas decorrente dessa heterogeneidade, tanto nas interações entre os falantes quanto na literatura. Esse é o caso da literatura chicana, que constitui o corpus desta pesquisa, sendo representada por Gloria Anzaldúa e Rolando Hinojosa, autores de Borderlands/La Frontera - The New Mestiza e Dear Rafe/Mi Querido Rafa, respectivamente. Tais obras, guardadas suas singularidades, apresentam marcas de heterogeneidade linguística (a escrita construída a partir do inglês, do espanhol e até mesmo do nahuatl, língua falada no império asteca; o codeswitching [ou alternância de código]; o braiding languages [ou entrelaçamento de línguas]; a subversão dos limites dos gêneros textuais) que desafiam qualquer projeto tradutório que se paute por noções tradicionais de língua e tradução. Com base nesse panorama, analisamos neste trabalho as possibilidades de reflexão que as obras do corpus podem oferecer ao campo dos estudos da tradução e as consequências de tal reflexão para a ética e para o tradutor (se é possível pensarmos em um único perfil). Tal reflexão é feita com base em conceitos e ideias propostos por linguistas, tradutores e teóricos da tradução de linha pós-estruturalista, tais como Lawrence Venuti, Kanavillil Rajagopalan e Alexis Nouss, pensadores de orientação pós-moderna, como Jacques Derrida, e teóricos de linha pós-colonialista, como Homi Bhabha / Abstract: Translation theories have been historically based on dichotomies (original/translation; author/translator; domestication/foreignisation; source language/target language). Such discourse unveils the belief in the possibility of linguistic homogeneity. Nevertheless, such belief becomes unsustainable in communities which politics and society are expressly marked by ethnic and linguistic heterogeneity issues, and mainly by the enormous range of linguistic diversity due to such heterogeneity, among speakers and in the literature. Chicano literature is an example, and two of the major Chicano works constitute the corpus of this research: Gloria Anzaldúa's Borderlands/La Frontera - The New Mestiza and Rolando Hinojosa's Dear Rafe/Mi Querido Rafa. Besides their own singularities, these two books are marked by linguistic heterogeneity (the writing is based on English, Spanish and Nahuatl, originally spoken in the Aztec empire; the codeswitching, the braiding languages; the transgression of genre boundaries) and defy any attempt of translation based on traditionalist language conceptions. Based on that, we propose an analysis of how the corpus of this research allows new possibilities of thinking translation and the consequences of these analyses for a translation ethics and for the translator (if we can think in such terms). Such analysis is based on concepts and ideas proposed by poststructuralist linguists, translators and translation theorists such as Lawrence Venuti, Kanavillil Rajagopalan, and Alexis Nouss. We also base our study on the works of postmodern thinkers, such as Jacques Derrida, and postcolonialist writers, such as Homi Bhabha / Mestrado / Teoria, Pratica e Ensino da Tradução / Mestre em Linguística Aplicada

La elección de los autores y obras aquí estudiados se debe a que son parte de una experiencia, epistemología y concepto de arte "orillas", de los "márgenes", entendido como una perenne oscilación, travesía y recorrido entre los dos lados de las orillas/márgenes. Los autores elegidos son habitantes de varios mundos, al menos de dos, y este "entremedios", esta producción en las intersecciones, es lo que marca su escritura, discurso y performances, en definitiva, su forma de producción.:El naranjo como figura de los pasajes transculturales. - Cartografías de la Otredad: "Cross-Cultural-Border-Land" : Guillermo Gómez Peña, Gloria Anzaldúa y Alberto Kurapel. - Resumen

This thesis explores literary code-switching, i.e. multilingual aspects within a single speech, as a key polyphonic structural element in the selected works. First, it analyzes Gloria Anzaldúa's Borderlands: The New Mestiza = La Frontera (1987) as a work, where the author seeks to establish a literary tradition that would reflect the life in borderlands and the given community through a new language. Secondly, the language of photography and multilingual speech patterns in W. G. Sebald's The Emigrants (1992) are considered as vital elements of the authenticity play. The following chapter deals with Franz Kafka's short stories, where gestures form an essential part of, if not the whole stories, and determine the fragmentary nature of such writing. Finally, the importance of language of power, the discourse of social realism altogether with their emergence into private and intimate discussions through repetitions and variations is commented upon in Václav Havel's play The Garden Party (1963).