<p>The following chapters access kitchen narratives through the
lens of the Bildungsroman to help bridge an important gap in the reception and
criticism of the theme. In particular, I examine the trope of food and the
kitchen space in texts that also deal with coming of age, and how the criticism
surrounding these texts has helped or hindered critical understanding of female
experiences.</p>
<p>In my Introduction I conduct a survey of the way literary
criticism has approached culinary texts and women’s writing about kitchen
spaces. I propose that viewing kitchen narratives in Latina authors’ texts as a
form of female Bildungsroman serves as a platform for women to communicate
their own stories in a way that highlights their contribution to a literary
genre through their own personal experiences. In parts 1 and 2 of Chapter 2 I
investigate further into the history of culinary writing in Latin America as
well as how the Bildungsroman and the kitchen intersect in women’s writing
respectively. In Chapter 3 I conduct a critical analysis of one of the most
widely studied culinary fictions, Laura Esquivel's <i>Como agua para chocolate</i> (1989), and examine how this text and its
scholarship have set the stage for food narrative criticism for women across Latina
texts. Chapter 4 focuses on kitchen narratives in texts and how they can be viewed
through the lens of the Bildungsroman utilizing Judith Ortiz Cofer's <i>Silent Dancing: A Partial Remembrance of a
Puerto Rican Childhood </i>(1991)<i>.</i></p>
| Identifer | oai:union.ndltd.org:purdue.edu/oai:figshare.com:article/8295830 |
| Date | 15 August 2019 |
| Creators | Alba I Rivera (6857744) |
| Source Sets | Purdue University |
| Detected Language | English |
| Type | Text, Thesis |
| Rights | CC BY 4.0 |
| Relation | https://figshare.com/articles/FEMALE_KITCHEN_NARRATIVES_THE_ELEMENTS_OF_THE_LATINA_BILDUNGSROMAN_THROUGH_SELF-EXPLORATION_AND_PROTEST/8295830 |
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