Araştırma Makalesi
BibTex RIS Kaynak Göster

Sandra Cisneros’un Mango Sokağı’ndaki Ev ve Gloria Anzaldua’nın Sınır Bölgeleri/ Hudut: Yeni Melez Kadın romanlarında Meksikalı Kadınların Sınır Deneyimi

Yıl 2020, Sayı: Ö8, 705 - 719, 21.11.2020
https://doi.org/10.29000/rumelide.822504

Öz

Bu makale, Mango Sokağı’ndaki Ev ve Sınır Bölgeleri/ Hudut: Yeni Melez Kadın’da, Meksika ve Amerika Birleşik Devletleri arasında, bireyleri dil, kültür, cinsiyet, cinsel yönelim, etnik köken ve sınıfsal meseleler yüzünde ayırıştan fiziksel ve psikolojik sınır bölgelerinde ikamet eden Meksikalı Amerikalı kadınların kendi kimliklerini nasıl inşa ettiklerini ortaya koymayı amaçlamaktadır. Entelektüel ve ruhani yolculuklarının sonunda kendilerini nasıl gerçekleştirdikleri de makalede ayrıca sunulmuştur. Mango Sokağı’ndaki Ev ve Sınır Bölgeleri/ Hudut: Yeni Melez Kadın, Meksika ve Amerika Birleşik Devletleri arasındaki fiziksel ve psikolojik sınır bölgesindeki kargaşa ve mücadeleye odaklanan ve bireylerin sosyal ve ekonomik durumlarını ortaya koyan sınır yazınının en iyi iki örneğidir. Sınır bölgesinin sakinleri yasadışı göçü, ekonomik eşitsizliği, sosyal ve ekonomik çalkantıyı, aidiyetsizlik hissini ve hayal kırıklığını tecrübe eder. Melez bir kimlikleri vardır ve İngilizce ve İspanyolca karşımı melez bir dil kullanırlar. Bu makale erkek egemen zulmü ve eve hapsedilmeyi, Amerika’nın Meksika karşısındaki ideolojik hâkimiyetini ve iki romandaki onurlu bir yaşam arayışını ele alır. Dolasıyla, bu çalışma Mango Sokağındaki Ev’in karakterlerinin yaşamlarını ve güdülerini, kadınlığa geçiş arifesinde olan başkahraman Esperenza’nın bakış açısından ve Sınır Bölgeleri/ Hudut: Yeni Melez Kadın’ındaki başkahraman yazar Gloria Anzaldua’nın kendi kimlik karmaşasını irdeler.

Kaynakça

  • Alarcon, N. (1990). Chicana Feminism: In the Tracks of the Native Woman. Cultural Studies 4(3): 248-256
  • Anzaldua, G. (2007). Borderlands, La Frontera: The New Mestisiza. San Fransisco: Aunt Lute.
  • Anzaldua, G.(1983). Speaking in Tongues: A Letter to Third World Women Writers. (pp.165-174) In Moraga C and Anzaldúa G (ed.) This Bridge Called My Back: Writings by Radical Women of Color. 3rd ed. New York: Kitchen Table Press.
  • Bhabba, H. (1994). The Location of Culture. London & New York: Routledge.
  • Cisneros, S. (1991). The House on Mango Street. New York: Vintage.
  • Cixous, H. & Cohen, K. &Cohen, P. (1976). The Laugh of Medusa. Signs 1(4) :875-893 The University of Chicago Press
  • Cordova, T. (1998). Anti-Colonial Chicana Feminism. New Political Science 20(4): 379-397
  • Doyle, J. (1994). More Room of Her Own. Society for the Study of the Multi-Ethnic Literature of the United States (MELUS) 19(4):5-35.
  • Dubb, C.R. (2007). Adolescent Journeys: Finding Female Authority in The Rain Catchers and The House on Mango Street, Children's Literature in Education. 38(3):219-232.
  • Duchak, A. (1999). A-Z of Modern America. London: Routledge.
  • Eysturoy, A. O. (2010). House Symbolism in the House on Mango Street. Bloom’s Guides: Sandra Cisneros’s The House on Mango Street. Ed. Harold Bloom. (pp.67-71) New York: IBT Global.
  • F. Cott, N. (1989). The Grounding of Modern Feminism. Yale University Press.
  • Flowers, Betty, S. (1989). “Interview with Carlos Fuentes.” A World of Ideas: Conversations with Thoughtful Men and Women about American Life Today and the Ideas Shaping our Future. (pp.506-13) New York: Doubleday.
  • Hanisch, Carol. (1970). Personal is Political. Notes from The Second Year: Women’s Liberation. (pp.76-78) New York Radical Women.
  • Hurtado, Norma Klahn, Olga Najera-Ramirez and Patricia Zavella. Durham and Kevane, B. (2010). Cisneros’s Portrait of a Barrio. Bloom’s Guides: Sandra Cisneros’s The House on Mango Street. Ed. Harold Bloom. (pp.92-96) New York: IBT Global.
  • Klahn, N. (2003).“Literary (Re)Mappings: Autobiographical (Dis)Placements by Chicana London: Duke University Press, (pp.114-45.)
  • Moraga, C. (1992) Arts in America, Con Acento. Frontiers: A Journal of Women Studies, Vol. 12, No. 3. (pp. 154-160), University of Nebraska Press Nicholson, L. (1986). Gender and History. Columbia University Press.
  • Whitman, W. Song of Myself (1892 Version). Poetry Foundation. Web. 12 Sept 2020.
  • Writers”. Chicana Feminism: A Critical Reader. Ed. Gabriela F. Arredondo, Aida
  • Zinn, H. (2005). A People’s History of the United States:1492/Present. Harper Collins.

Chicana experience on Borderlands in Sandra Cisneros' The House on Mango Street and Gloria Anzaldua's Borderlands/La Frontera: The New Mestiza

Yıl 2020, Sayı: Ö8, 705 - 719, 21.11.2020
https://doi.org/10.29000/rumelide.822504

Öz

This paper aims to suggest how Chicanas in The House on Mango Street and in Borderland/La Frontera: New Mestiza construct their own identity on the physical and psychological borderland between Mexico and The States segregating and separating individuals because of language, culture, gender, sexuality, ethnicity and class. How they achieve their self-fulfillment at the end of their odyssey is also presented in this paper. The House on Mango Street and Borderlands/La Frontera New Mestiza are the epitomes of border writing dwelling on the tumult and challenges of physical and psychological borderland between the States and Mexico and explaining the social and economic conditions of the subjects. Borderland dwellers experience illegal migration, economic disparity, social and financial unrest, sense of displacement and frustration. They have hybrid identities and use hybrid language of English and Spanish. This paper discusses male oppression and domestication, American ideological dominance over Mexico and a quest for a dignified life in both novels. Therefore, this study scrutinizes the lives and the motives of the characters in The House on Mango Street from the perspective of its female protagonist, Esperenza who is on the threshold of womanhood and the identity confusion of protagonist writer, Gloria Anzaldua herself in Borderlands/La Frontera: The New Mestiza.

Kaynakça

  • Alarcon, N. (1990). Chicana Feminism: In the Tracks of the Native Woman. Cultural Studies 4(3): 248-256
  • Anzaldua, G. (2007). Borderlands, La Frontera: The New Mestisiza. San Fransisco: Aunt Lute.
  • Anzaldua, G.(1983). Speaking in Tongues: A Letter to Third World Women Writers. (pp.165-174) In Moraga C and Anzaldúa G (ed.) This Bridge Called My Back: Writings by Radical Women of Color. 3rd ed. New York: Kitchen Table Press.
  • Bhabba, H. (1994). The Location of Culture. London & New York: Routledge.
  • Cisneros, S. (1991). The House on Mango Street. New York: Vintage.
  • Cixous, H. & Cohen, K. &Cohen, P. (1976). The Laugh of Medusa. Signs 1(4) :875-893 The University of Chicago Press
  • Cordova, T. (1998). Anti-Colonial Chicana Feminism. New Political Science 20(4): 379-397
  • Doyle, J. (1994). More Room of Her Own. Society for the Study of the Multi-Ethnic Literature of the United States (MELUS) 19(4):5-35.
  • Dubb, C.R. (2007). Adolescent Journeys: Finding Female Authority in The Rain Catchers and The House on Mango Street, Children's Literature in Education. 38(3):219-232.
  • Duchak, A. (1999). A-Z of Modern America. London: Routledge.
  • Eysturoy, A. O. (2010). House Symbolism in the House on Mango Street. Bloom’s Guides: Sandra Cisneros’s The House on Mango Street. Ed. Harold Bloom. (pp.67-71) New York: IBT Global.
  • F. Cott, N. (1989). The Grounding of Modern Feminism. Yale University Press.
  • Flowers, Betty, S. (1989). “Interview with Carlos Fuentes.” A World of Ideas: Conversations with Thoughtful Men and Women about American Life Today and the Ideas Shaping our Future. (pp.506-13) New York: Doubleday.
  • Hanisch, Carol. (1970). Personal is Political. Notes from The Second Year: Women’s Liberation. (pp.76-78) New York Radical Women.
  • Hurtado, Norma Klahn, Olga Najera-Ramirez and Patricia Zavella. Durham and Kevane, B. (2010). Cisneros’s Portrait of a Barrio. Bloom’s Guides: Sandra Cisneros’s The House on Mango Street. Ed. Harold Bloom. (pp.92-96) New York: IBT Global.
  • Klahn, N. (2003).“Literary (Re)Mappings: Autobiographical (Dis)Placements by Chicana London: Duke University Press, (pp.114-45.)
  • Moraga, C. (1992) Arts in America, Con Acento. Frontiers: A Journal of Women Studies, Vol. 12, No. 3. (pp. 154-160), University of Nebraska Press Nicholson, L. (1986). Gender and History. Columbia University Press.
  • Whitman, W. Song of Myself (1892 Version). Poetry Foundation. Web. 12 Sept 2020.
  • Writers”. Chicana Feminism: A Critical Reader. Ed. Gabriela F. Arredondo, Aida
  • Zinn, H. (2005). A People’s History of the United States:1492/Present. Harper Collins.
Toplam 20 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Dilbilim
Bölüm Dünya dilleri, kültürleri ve edebiyatları
Yazarlar

Aslınur Bayal Bayal Bu kişi benim 0000-0002-4682-2400

Yayımlanma Tarihi 21 Kasım 2020
Yayımlandığı Sayı Yıl 2020 Sayı: Ö8

Kaynak Göster

APA Bayal, A. B. (2020). Chicana experience on Borderlands in Sandra Cisneros’ The House on Mango Street and Gloria Anzaldua’s Borderlands/La Frontera: The New Mestiza. RumeliDE Dil Ve Edebiyat Araştırmaları Dergisi(Ö8), 705-719. https://doi.org/10.29000/rumelide.822504