UNIVERSIDAD NACIONAL DEL COMAHUE
FACULTAD DE LENGUAS
LITERATURA EN LENGUA INGLESA IV
Carrera:Profesorado en Inglés
Año: 2014; segundo cuatrimestre
Profesor Adjunto: María Alejandra Olivares
Asistentes de Docencia: Mercedes Fernandez Beschtedt
Paola A. Formiga
Ayudante: Andrea Montani
OBJETIVOS
1-Ayudar al alumno a que desarrolle un conocimiento crítico de la literatura, particularmente de la
producida en los países de habla inglesa en la segunda mitad de este siglo, a través de la temática
estructurante de este programa.
2- Que el alumno internalice categorías conceptuales que le permitan analizar cualquier otro texto
literario.
3- Que el alumno adopte una postura crítica con respecto a los análisis realizados en clase y que
desarrolle análisis complementarios a partir de distintas perspectivas.
4- Que el alumno relacione la producción literaria con el contexto socio-histórico de su producción.
5- Que el alumno enriquezca su conocimiento de la lengua inglesa a través de:
- la exposición a la variedad y riqueza del discurso literario.
- la adquisición de conceptos y léxico específico del campo literario.
- la discusión crítica de los textos y la expresión de sus opiniones e impresiones con respecto a los
textos literarios con los que debe trabajar
6- Entrenar al alumno en el ejercicio de su nuevo rol de lector activo, el único que está en
condiciones de completar debidamente el texto escrito.
7- Ofrecerle algunos elementos de la teoría literaria contemporánea para afinar y profundizar su
tarea de lector.
ACTIVIDADES
-
Lectura de textos
Opinión, análisis, interpretación, y comentarios de los alumnos.
EVALUACION
ALUMNOS REGULARES
REQUISITOS PARA LA APROBACION DEL CURSADO
- 70% asistencia a clase.
- Aprobar dos exámenes parciales que consistirán en un ensayo crítico corto cada uno.
EVALUACION FINAL
- Elaboración de un trabajo integrador que será presentado oralmente y defendido ante el
tribunal examinador.
-
El tribunal se reserva el derecho de hacer preguntas sobre cualquier otro aspecto del
programa que considere necesario.
ALUMNOS LIBRES
- Presentación de un ensayo crítico sobre un tema a discutir con la cátedra. El trabajo
deberá ser entregado al menos una semana antes de la fecha de exámen.
- Un exámen escrito y oral a programa abierto.
PROMOCION
- 80% de asistencia
- 100% de trabajos prácticos aprobados. El promedio del puntaje obtenido en los
prácticos no podrá ser inferior a 7 (siete)
- Dos exámenes parciales. En cada uno el alumno deberá obtener al menos 7 (siete) para
acceder a la promoción.
Para obtener la nota final de la materia, se promediarán los resultados de los trabajos
prácticos con los de los exámenes parciales.
RATIONALE
This course is meant as an introduction to the reading and analysis of the literary production
of some of the varied groups that have traditionally been silenced due to differences of race, gender,
class, sexual preferences, native status and ethnicity. The syllabus has been designed round the
concept of the “colonized” subject. Colonialism should be here understood as an event which
operates on the basis of difference by which the "other" is represented as “inferior and radically
different, and hence incorrigibly inferior" (Partha Chaterjee 1993). It is a way of asserting an
unequal relationship of power through the employment of social, cultural, religious, economic and
political means of control. In this sense, the social groups represented through the works included in
the syllabus have been “colonized”, either externally or internally: Caribbean, Puerto Rican and
Niuyorrican, and women as well, white and African American (the latter having been doubly
colonized). All these groups are “excentric” in terms of Linda Hutcheon in A Poetics of
Postmodernism: the off-center which is “ineluctubly identified with the center it desires but is
denied”.
The present course focuses on the study of texts that constitute an act of resitance or
defiance of the Western hegemony, which encompasses also the ideology of aesthetics, and
therefore questions the Western canon. The works will be analysed from different perspectives,
feminist and post-colonial in particular; perspectives which are closely connected with the
“excentric” since they originate as part of the move off-center which has its roots in the 1960’s;
accoding to Hutcheon, in the contesting of centralization of culture and the inscription of marginal
groups into theoretical discourse and artistic practice; a period which is charactirized by its
challenges to the notion of center. The center, previously equated to the universal and the eternal,
becomes a fiction and the heterogenous aspect of culture is conceived as a series of identities
contextualized by class, race, gender, sexual preferences and so on. Therefore, the assertion of
identity is marked by difference and specificity.
(DE)COLONIZED SELVES: IDENTITY, RESISTANCE AND WRITING
2
CONTENTS
INTRODUCTION
Colonialism; the colonized subject: internal and external colonization. Postcolonialism and
“the excentric”. Imperialism. Identity, culture and hegemony.
Chimamanda ADICHIE, “The Danger of a Single Story”
http://www.youtube.com/watch?v=D9Ihs241zeg 07OCT2009
Epe Afichi Pun http://www.youtube.com/watch?v=3H0XuBkIZvw&feature=related
07AUG2012
UNIT I
Reading as a woman: some directions in feminist criticism. Women writers and tradition.
Gender and the production and interpretation of literary texts: the conflict between
“femininity” and creativity; madness and silences.
Mike NEWELL (Dir.). 2003. Mona Lisa’s Smile. Cast: Julia Roberts, Kirsten Dunst, Julia
Stiles
Charlotte Perkins GILMAN, “The Yellow Wall Paper”
Susan K. GLASPELL, “A Jury of her Peers”
Tillie OLSEN, “I Stand Here Ironing”
UNIT II
Race, gender and class. The socio-historical background of African American literature.
Core images in Afroamerican women’s writing. Black women’s standpoint suppressed and
the struggle for self-definition.
Alice WALKER, The Color Purple . Movie. Directed by Steven SPEILBERG. 1985. Cast:
Whoopi Goldberg, Oprah Winfrey, Danny Glover.
Tony MORRISON, The Bluest Eye
Jocelyn MOORHOUSE (Dir.). 1995. How to Make an American Quilt. Cast: Maya
Angelou, Winona Ryder, Adam Baldwin, Anne Bancroft. * For Units I and II
UNIT III
The West Indies and the British colonial legacy. Rewriting history, myth and identity.
Traditional modes of narration defied. Migration, identity and the (dis)location of home.
Opal Palmer ADISA, “Fruit Series”
Jamaica KINCAID, “Girl”
—, “On seeing England for the First Time”
Michael Thomas MARTIN, “Girlfriend”
Andrea LEVY, Small Island (BBC Series. 2009. Directed by John Alenxander)
Merle Merle COLLINS, “Madelene”*
Jan WILLIAMS, “Arise, My Love”*
UNIT IV
The colonized subject and the United States: Writing as a subversive act/art. Language as
interculture.
a. Interrelations in Puerto Rican/Nuyorican literature
3
Ana Lydia VEGA, “Pollito Chicken”
—, “De Bípeda Desplumada a Escritora Puertorriqueña (con E y P machúscula)”.
Rosario MORALES, “Double Allegiance”
— , “I Am What I Am”
Rosario FERRE, The House on the Lagoon
Laura MUNTER-ORABONA, “On Passing”*
b. Interrelations in Chicana literature
Gloria ANZALDÚA, “La Prieta”
Sandra CISNEROS, “Woman Hollering Creek”
Helena María VIRAMONTES, “Growing”
—, “Birthday”
— , “Snapshots”*
Note: The asterisks show the works that will be used by the students for the practical
assignments and term exams.
SPECIFIC BIBLIOGRAPHY
INTRODUCTION
DE HAY, Terry. “A Postcolonial Perspective”
http://home.sou.edu/~hedges/IDTC/Issues/postcol/Resources/Terry/dehay.htm
Retrieved 29 JUL 2009
GUGELBERGER,
Georg
M.
1997.
“Postcolonial
Cultural
Studies”
http://www.press.jhu.edu/books/hopkins_guide_to_literary_theory/postcolonial_cult
ural_studies.html Retrieved 13 MAY 2005
HALL,
Stuart.
1994.
“Cultural
Identity
and
Diapora”
392-401
http://www.unipa.it/~michele.cometa/hall_cultural_identity.pdf
—, “A Conversation with Stuart Hall.” In The Journal of the International Institute,
University of Michigan, Volume 7, Issue 1, Fall 1999 Permalink:
http://hdl.handle.net/2027/spo.4750978.0007.107 [http://hdl.handle.net/2027 /spo.47
5097 8.0007 .107 ] Hosted by MPublishing, a division of the University of
Michigan Library. A series of excerpts from a faculty seminar sponsored by the
Program in the Comparative Study of Social Transformations (CSST) on April 15,
1999.
HUTCHEON, Linda 1988. A Poetics of Postmodernism. History, Theory, Fiction,
Routledge. “Decentering the Postmodern: The Excentric”, pp. 57 – 73.
LEE, A. Robert. 2003. Multicultural American Literature. Comparative Black, Native,
Latino/a and Asian American Fictions. University Press of Mississippi. “Introduction:
America and the Multicultural Word: Legacies, Maps, Vistas, Theory”, pp 1 – 19
MORLEY, David and Kuan-Hsing CHEN. 2005. Stuart Hall. Critical Dialogues in
Cultural Studies. London & New York: Routledge. 20: 422- 437
SAID, Edward. 1994. Culture and Imperialism. New York: Vintage Books. Introduction
and Chapter 1
—,
2003 (1978) Orientalism. Penguin. Introduction pp. 1-9
4
UNIT I
COINER, Constance. 1992. “‘No One’s Private Ground’: A Bakhtinian Reading of Tillie
Olsen’s Tell Me a Riddle”. In HEDGES, Elaine R. and Shelley FISHER FISHKIN
(eds.). 1994. Listening to Silences. New Essays in Feminist Criticism. New York
and Oxford: Oxford Universituy Press. Pp. 71-93
COINER, Constance. 1995. “Tillie Olsen's Life”. From Better Red: The Writing and
Resistance of Tillie Olsen and Meridel Le Sueur. New York: Oxford UP. At
http://www.english.uiuc.edu/maps/poets/m_r/olsen/life.htm. Published in THE
GUARDIAN.
January
4th,
2007.
“Obituary:
Tillie
Olsen”.
P30.
www.theguardian.co.uk Retrieved 12AUG2008
CULLER, Jonathan 1982. On Deconstruction. Theory and Criticism after Structuralism.
New York: Cornell University Press. Chapter I .2 “Reading as a Woman”, pp. 43 –
64
CUSAC, Anne-Marie.2008. “Tillie Olsen Interview”. In The Progressive Magazine,
November 1999 Issue. At http://www.progressive.org/mag_intv1199. Retrieved
12AUG2008
FRASER, Nancy. “Cartografía de la Imaginación Feminista. De la Redistribución al
Reconocimiento, a la Representación”. Conferencia sobre Igualdad de Género y
Cambio Social – Universidad de Cambridge, Inglaterra. 2004
GOODMAN, Lizbeth, Kasia BODDY and Elaine SHOWALTER 1996. “Prose fiction,
form and gender”. In GOODMAN, Lizbeth (ed.) 1996. Literature and Gender,
Routledge.Chapter III .Pp 71-91.
GOODMAN, Lizbeth, Helen SMALL and Mary JACOBUS 1996. “Madwomen and attics:
themes and issues in women´s fiction”. In GOODMAN, Lizbeth (ed.) 1996.
Literature and Gender, Routledge.Chapter IV.
GOODMAN, Lizbeth and J. Ellen GAINOR 1996. “Gender and drama, text and
performance”. In GOODMAN, Lizbeth (ed.) 1996. Literature and Gender,
Routledge. Chapter VI.
HEDGES, Elaine R. and Shelley FISHER FISHKIN (eds.). 1994. Listening to Silences.
New Essays in Feminist Criticism. New York and Oxford: Oxford Universituy
Press. Introduction, pp. 3-5
HEDGES, Elaine R., Afterword to Gilman, The Yellow Wallpaper, The Femenist Press,
New York, 1996.
HOLLOWAY, Myles, Gwen KANE, Riana ROOS and Micahel TITLESTAD 1999. Selves
and Others. Exploring Language and Identity. Cape Town: Oxford University
Press. 3.1: 112-123 “What is gender?”
KOLODNY, Annette 1985 “A Map for Rereading. Gender and the Interpretation of
Literary Texts". In SHOWALTER, Elaine (ed) 1985. The New Femenist Criticism.
Essays on Women, Literature and Theory. New York: Pantheon Books.
LAURENCE, Patricia. “Women’s Silence as Ritual of Truth: a Study of Literary
Expressions in Austen, Brontë, and Woolf.” In HEDGES, Elaine R. and Shelley
FISHER FISHKIN (eds.). 1994. Listening to Silences. New Essays in Feminist
Criticism. New York and xford: Oxford Universituy Press. 156-167
MILLETT, Kate 1990. Sexual Politics. The Classic Analysis of the Interplay Between Men,
Women, & Culture. New York: Touchstone. Chapter II: “Theory of Sexual Politics”
5
OLSEN, Tillie. “Silences in Literature”. In OLSEN, Tillie and Deborah SILVERTON
ROSENFELT. 1995. Tell Me a Riddle. New Brunswick: Rutgers University Press.
TYSON, Lois. 2006. Critical Theory Today. A User-Friendly Guide. London-New York:
Routledge. Chapter 4 “Feminist Criticism”, 83-120.
WOOLF, Virginia, “Professions for Women” In WOOLF, Virginia. 1942. The Death of the
Moth and Other Essays. eBooks@Adelaide 2004, The University of Adelaide Library
http://ebooks.adelaide.edu.au/w/woolf/virginia/w91d/chap28.html
—,
A Room of One’s Own. eBooks@Adelaide 2004, The University of Adelaide Library.
Part One
http://etext.library.adelaide.edu.au/w/woolf/virginia/w91r/chap6.html
UNIT II
“Black English”. African American Women in Literature. Reprinted fro Vol.33, July 1995
of the English Teaching Forum, published by the United States Information
Agency, Washington, D.C. 15.
“The Black Experience in the U.S.A.”, a summary of MEIER, A. and RUDWICK, E. 1976
From Plantation to Ghetto. Hill and Wand.
BEAULIEU, Elizabeth Ann (ed.). 2003. The Tony Morrison encyclopedia. Westport,
Conneticut – London: Greenwood Press.
BRAXTON, Joanne M. and Sharon ZUBER. “Silences in Harriet “Linda Brent” Jacob’s
Incidents in the Life of a Slave Girl”. In HEDGES, Elaine R. and Shelley FISHER
FISHKIN (eds.). 1994. Listening to Silences. New Essays in Feminist Criticism.
New York and xford: Oxford Universituy Press. 146-155
CLIFF, Michelle. “Object into subject: Some thoughts on the Work of Black Women
Artists”. 1982. From Heresies 15: “Racism is the Subject”. In In ANZALDÚA,
Gloria (ed.). 1990. Making Face, Making soul. Haciendo caras. Creative and
Critical Perspectives of Feminists of Color. San Francisco: Aunt Lute Books. 271290
DAVIES, Carol Boyce 1994. Black Women, Writing and Identity. Migrations of the
Subject. New York-London: Routledge.
DU BOIN, Corinne. 2011. “Contested Identities: Migrant Stories and Liminal Selves in
Andrea Levy’s Small Island”. Obsidian: Literature in the African Diaspora 12, 1
(2011) 14-33
GATES, Henry Louis and Nellie Y. MCKAY (eds.) 1997. The Norton Anthology. African
American Literature. Norton. Introductions: “The Black Arts Movement: 19601970”, “Literature since 1970”.
GOODMAN, Lizbeth and Joan DIGBY 1996. “Gender, race, class and fiction”. In
GOODMAN, Lizbeth (ed.) 1996. Literature and Gender, Routledge. Chapter V.
HILL COLLINS, Patricia 1991. Black Feminist Thought. Knowledge, Consciousness and
the Politics of Empowerment. London-New York: Routledge.
HOOKS, Bell. 1988. From Talking Back: Thinking Feminist, Thinking Black. In
ANZALDÚA, Gloria (ed.). 1990. Making Face, Making soul. Haciendo caras.
Creative and Critical Perspectives of Feminists of Color. San Francisco: Aunt Lute
Books. 207-211.
KUENZ, Jane. 1993. “ 'The Bluest Eye': Notes on History, Community, and Black Female
Subjectivity.” In African American Review. Volume: 27. Issue: 3. 1993. Page
Number: 421+. African American Review; 2002 Gale Group
6
MOSES, Cat. 1999. “The Blues Aesthetic in Toni Morrison’s The Bluest Eye” in The
African
American
Review,
Winter
1999.
Retrieved
08OCT2009
http://findarticles.com/p/articles/mi_m2838/is_4_33/ai_59024884/pg_15?tag=artBo
dy;col1
TYSON, Lois. 2006. Critical Theory Today. A User-Friendly Guide. London-New York:
Routledge. Chapter 11 “African American Criticism”, 395-359UNIT III
ADISA, Opal Palmer. The Swelling of the Womb/The Forging of a Writer” En The
Caribbean Writer. Vol.12 http://rps.uvi.edu/CaribbeanWriter/authors.html
ANDERNSON, Benedict. (1983) 1996. Immagined Communities. Reflections on the
Origins and Spread of Nationalism. New York: Verso. Chapter 3 “The Origins of
National Consciousness”
BONETTI, Kay. 1992. “An Interview with Jamaica Kincaid”, The Missouri Review.
Volume XV, Number 2, 1992. http://www.missourireview.com/contentindex.php?genre=Interviews&title=An+Interview+with+Jamaica+Kincaid
Retrieved 30NOV2007
BRANCATO, Sabrina. 2001. Mother/Motherland in the Works of Jamaica Kincaid.
www.tdx.cesca.es/TESIS_UB/AVAILABLE/TDX-1109104085601/TESIS_BRANCATO.pdf Retrieved 01 JUN 2005. Introduction.
BRATHWAITE, Kamau and Edouard GLISSANT. 1991. “El Lenguaje-nación y la Poética
del acriollamiento. Una conversación entre Kamau Brathwaite y Édouard Glissant.”
Edición de Ineke Phaf-Rheinberger, traducción y notas de Carolina Benavente
Morales. En SALTO, Graciela (ed.) 2010. Memorias del silencio. Literaturas en el
Caribe y en Centroamérica. Buenos Aires: Corregidor, ISBN 978-950-05-1909-0,
pp. 17-44
DONNELL, Alison and Sarah LAWSON WELSH 1996. Reader in Caribbean Literature.
New York-London: Routledge. General Introduction. 1-26
DONNELL, Alison. 1992. “Dreaming of Daffodils: Cultural Resistance to the Narrratives
of Theory”. DONNELL, Alison and Sarah LAWSON WELSH 1996. Reader in
Caribbean Literature. New York-London: Routledge. 487-493.
FAULKNER, Marie-France. 2013. Belonging-in-Difference: Negotiating Identity in
Anglophone Caribbean Literature. Doctoral dissertation, Anglia Ruskin University.
Ch. 6 “Andrea Levy’s Small Island”, pp. 150-195
GLISSANT, Edouard. 2006 (1997). Tratado del todo-mundo. Barcelona: El Cobre
Ediciones. .”El grito del mundo”, 19-33
—, 1999 (1989). Caribbean Discourse. “The Known, the Uncertain. Dispossession” 14-26
MILLER, D. Scot. 2008. “Stories from Jamaica and Beyond” Oakbook.
http://www.theoakbook.com/MoreDetail.aspx?Aid=2354&CatId=14 03JUL2009.
Excerpt.
OLIVARES, M. A. 2010. “Jamaica Kincaid y la literatura caribeña anglófona actual: el
microrrelato como crítica. En SALTO, Graciela (ed.). Memorias del Silencio.
Literaturas en el Caribe y Centroamérica. Buenos Aires: Corregidor, ISBN 978950-05-1909-0, pp. 83-119
—, 2010. “Microfiction as Cognitive Mapping: A Reading of the Caribbean”. El Cuento en
Red. Revista electrónica de teoría de la ficción breve. Universidad Autónoma
7
Metropolitana (México). Nümero 21, primavera 2010: 21-31. ISSN 1527-2958.
http://cuentoenred.xoc.uam.mx/
LIVINGSTON, James T. 1974. Caribbean Rhythms. The Emerging English Literature of
the West Indies. New York: Washington Square Press. Introducction.
NETTLEFORD, Rex. 1974 “Caribbean Perspectives: The Creative Potential and the
Quality of Life”. In LIVINGSTON, James T. 1974. Caribbean Rhythms. The
Emerging English Literature of the West Indies. New York: Washington Square
Press.
SAID, Edward.1983. The World, the Text and the Critic. Cambridge,
Massachussetts:Harvard University Press. Introdution. ”Secular Criticism”
TYSON, Lois. 2006. Critical Theory Today. A User-Friendly Guide. London-New York:
Routledge. Chapter 12 “Postcolonial Criticism”, 417-432
VORDA, Allan. “An Interview with Jamaica Kincaid”
http://www.mississippireview.com/1996/kincaid.html Retrieved 01 JUN 2005
UNIT IV
a. PUERTO RICAN LITERATURE
AYALA, César J. and Rafael Bernabe. Puerto Rico in the American Century. A History
since 1898. Chapel Hill: The University of North Carolina Press. 2007
BRÁS, Marisabel.
“The Changing of the Guard: Puerto Rico in 1898”.
http://www.loc.gov/rr/hispanic/1898/bras.html. Retrieved August 17th, 2005
BURGOS, William. “Puerto Rican Literature in a New Clave. Notes on the Emergence of
Diasporican” en Torres-Padilla, José and Cármen H. Rivera (Eds.). 2008. Writing Off
the Hyphen. New Perspectives on the Literature of the Puerto Rican Diaspora.
Seattle and London: University of Washington Press. 125-142
FERNANDEZ BESCHTEDT, Mercedes. 2007. “Pulseando por la identidad
puertorriqueña”. II Jornadas de Poscolonialismo en Literaturas Anglófonas.
Tucumán. November 2007.
FERNANDEZ BESCHTEDT, Mercedes. 2008. “El microrrelato. Una pieza en el
entramado de Llegar a casa con vida y de la puertorriqueñidad. V Congreso
Internacional de Minificción. Neuquén. November 2008.
FLORES, Juan, John ATTINASI., and Pedro PEDRAZA. 1981. “ ‘La Carreta Made a UTurn’: Puerto Rican Language and Culture in the United States.” In FLORES, Juan.
1993. Divided Borders – Essays on Puerto Rican Identity. Houston: Arte Público
Press.
GORDILS, Yanis. 1988. “Island and Continental Puerto Rican Literature: Cross-Cultural
and Intertextual Considerations”. ADE Bulletin 091 (Winter 1988): 52-55
http://www.mla.org/ade/bulletin/n091/091052.htm Retrieved 24 AUG 2005
HERNANDEZ,Cármen Dolores.1997.Puerto Rican Voices in English. Interviews with
writers. Chapter 11:"Esmeralda Santiago".Westport,Connecticut:Praeger.
JOHNSON, Kelli Lyon. "Writing Home: Mapping Puerto Rican Collective Memory in The
House on the Lagoon." Writing Of(f) the Hyphen: Critical Perspectives on the
Literature of the Puerto Rican Diaspora. Ed. José L. Torres-Padilla and Carmen H.
Rivera. Seattle: University of Washington Press, 2008. 239 - 55.
MORAGA, Cherríe. “La Güera” in MORAGA, Ch. and G. ANZALDUA (ed.) 1983. This
Bridge Called My Back – Writings by Radical Women of Color. New York: Kitchen
Table Press.
8
MORALES, Rosario. “Double Allegiance”, and “I Am What I Am”. In LEVINS
MORALES, Aurora and Rosario MORALES. 1986. Getting Home Alive. New York:
Firebrand Books.
OLIVER ROTGER, María Antonia. 2001. "Asimilaos": la literatura latina estadounidense
como escenario de la intercultura en el aula de lengua extranjera”
Universitat Pompeu Fabra. http://www.ub.es/filhis/culturele/asimila.html Retrieved
August 28th, 2005
RIVERA, Carmen S. 2002. Kissing the Mango Tree. Puerto Rican Women Rewriting
American Literature. Houston: Arte Público Press. Introduction: “Female Invisibility
and Literary Representations of Puerto Ricans in the United States”
VEGA, Ana Lydia. 1978. “Pollito Chicken”. In LUGO FILIPPI, Carmen y Ana Lydia
VEGA. (1981) 1994. Vírgenes y Mártires (cuentos).: Río Piedras: Editorial
Antillana.
—,
1996. “De Bípeda Desplumada a Escritora Puerto Riqueña (con E y P machúscula). In
Esperando a Loló y otros delirios generacionales. San Juan de Puerto Rico: Editorial
de la Universidad de Puerto Rico.
b. CHICANA LITERATURE:
ALARCÓN, Norma. “Making Familia From Scratch: Split Subjectivities in the Work of
Helena María Viramontes and Cherríe Moraga” in Chicana Creativity and Criticism
– New Frontiers in American Literature. 1988. Ed. HERRERA-SOBEK, María and
H.M. VIRAMONTES. 1996. University of New Mexico Press.
ALFONSO, Norma, Enrique BASABE and María Graciela ELIGGI. 2001. “Cultura,
subjetividad y resistencia como generadoras del cambio de código en textos de
autoras chicanas” en Estudios sobre la cultura chicana. Departamento de Lenguas
Extranjeras. Universidad Nacional de La Pampa.
ANZALDUA, Gloria. 1987. Preface to the First Edition and Chapter 1: “The Homeland,
Aztlán /El Otro México” in Borderlands / La Frontera – The New Mestiza. 1999. San
Francisco: Aunt Lute Books.
—,
Chapter 5: “How to Tame a Wild Tongue” in Borderlands / La Frontera – The New
Mestiza. 1999. San Francisco: Aunt Lute Books.
—,
1981. “La Prieta” in MORAGA, Ch. and G. ANZALDUA (ed.) 1983. This Bridge
Called My Back – Writings by Radical Women of Color. New York: Kitchen Table
Press.
CISNEROS, Sandra. 1991. “Woman Hollering Creek” in Woman Hollering Creek and
other stories. New York: Vintage Contemporaries.
VIRAMONTES, Helena María. 1995. “Growing” in The Moths and Other Stories.
Houston: Arte Público Press.
— , “Birthday” in The Moths and Other Stories. Houston: Arte Público Press.
—,
“Snapshots” in The Moths and Other Stories. Houston: Arte Público Press.
GENERAL BIBLIOGRAPHY
BARRY, Peter. 2002. Beginning theory. An Introduction to Literary and Cultural Theory.
Manchester and New York: Manchester University Press.
BARKER, Chris. 2004. The Sage Dictionary of Cultural Studies.London: Sage.
HOLMAN, C. Hugh 1980. A Handbook to Literature. Indianapolis: Bobbs-Merrill
9
Educational Publishing.
McLEOD, John. 2000. Beginning Postcolonialism. Manchester and New York: Manchester
University Press.
PECK, John and Martin COYLE 1986. Literary Terms and Criticism. Macmillan.
POPE, Rob 1998. The English Studies Book. London-New York: Routledge.
SARUP, Madan. 2005 (1996). Identity, Culture and the Postmodern World. Edinburgh:
Edinburgh University Press.
Prof. María Alejandra Olivares
10