By Susan Stanford Friedman
Friedman has noticeable the post-modern destiny. This ebook ostensibly addresses feminists, however it spends so little time really addressing this standpoint that it self-demonstrates the extra inclusive, globalistic, humanistic that it posits. I rather preferred the combining of literary overview with this new international social conception of identification formation. My basically feedback will be that the hugely really good jargon Friedman makes use of can at first look obstructive. total, worthy.
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Such grafting often takes the form of painful splitting, divided loyalties, or disorienting displacements. Sometimes it leads to or manifests as regenerative growth and creativity. 18 As I discuss in greater detail in chapter 3, the potentially violent, contradictory, absurd, even humorous dimensions of such oscillations are evident in Anzaldúa’s partially ironic lines about postmodernity in the United States: To live in the Borderlands means to put chile in the borscht, eat whole wheat tortillas, speak Tex-Mex with a Brooklyn accent; be stopped by la migra at the border checkpoints; (194) In The Woman Warrior, to recall a particularly influential text about hybridity, Maxine Hong Kingston represents herself as a young Chinese American girl growing up in the interface between Chinese and American forms of patriarchy, between Chinese and American forms of familial and communal tyranny.
Alternatively, hybridity sometimes configures identity as the superposition of different cultures in a single space often imagined as a borderland, as a site of blending and clashing. “To survive the Borderlands,” Anzaldúa writes, “you must live sin fronteras [without borders]/ be a crossroads” (195). In either case, identity is not “pure,” “authentic,” but always already a heterogeneous mixture produced in the borderlands or interstices between difference. Such grafting often takes the form of painful splitting, divided loyalties, or disorienting displacements.
Gynocriticism, even in its pluralized form, focuses on women writers. Whether self-reflexively addressed or not, the decision to write only on women necessarily privileges gender as the principle of selection. Gynesis, emerging out of a poststructuralist critique of the author as source or origin of expressivity, has been more concerned with the textual effects of gender than with gendered writers. But particularly for feminist critics who have blended gynocriticism and gynesis, the goal has often been, in Nancy K.