Transnational, National, and Personal Voices: New Perspectives on Asian American and Asian Diasporic Women Writers

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Begoña Simal, Begoña Simal González, Elisabetta Marino
LIT Verlag Münster, 2004 - 259 páginas
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"The growing heterogeneity of Asian American and Asian diasporic voices has also given rise to variegated theoretical approaches to these literatures. This book attempts to encompass both the increasing awareness of diasporic and transnational issues, and more ""traditional"" analyses of Asian American culture and literature. Thus, the articles in this collection range from investigations into the politics of literary and cinematic representation, to ""digging"" into the past through ""literary archeology"", or analyzing how ""consequential"" bodies can be in recent literature by Asian American and Asian diasporic women writers. The book closes with an interview with critic and writer Shirley Lim, where she insightfully deals with these ""transnational, national, and personal"" issues. Elisabetta Marino is Assistant Professor of English literature at the University of Rome ""Tor Vergata"". Her main fields of interest are Asian American and Asian British literature, children's literature, Italian American literature. Begoña Simal is Assistant Professor of English literature at the Universidade da Coruña, Spain. She has published critical work on both Asian American literature and comparative ""cross-ethnic"" studies. "
 

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Índice

II
25
III
43
IV
67
VI
87
VII
107
VIII
119
IX
151
X
175
XII
199
XIV
215
XVI
231
XVIII
241
XIX
257
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Página 35 - A borderland is a vague and undetermined place created by the emotional residue of an unnatural boundary. It is in a constant state of transition. The prohibited and forbidden are its inhabitants. Los...
Página 32 - ... three strokes, the middle so straight? Was it out of politeness that this writer left off strokes the way a Chinese has to write her own name small and crooked? No, it was not politeness; "I" is a capital and "you
Página 32 - I." The Chinese "I" has seven strokes, intricacies. How could the American "I," assuredly wearing a hat like the Chinese, have only three strokes, the middle so straight?
Página 39 - In fact, it wasn't me my brother told about going to Los Angeles; one of my sisters told me what he'd told her. His version of the story may be better than mine because of its bareness, not twisted into designs.
Página 36 - When my second grade class did a play, the whole class went to the auditorium except the Chinese girls. The teacher, lovely and Hawaiian, should have understood about us, but instead left us behind in the classroom. Our voices were too soft or nonexistent, and our parents never signed the permission slips anyway. They never signed anything unnecessary. We opened the door a crack and peeked out, but closed it again quickly.

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