Chicanas in Love: Sandra Cisneros Talking Back and Alicia Gaspar De Alba 'Giving Back the Wor(l)d'

Chasqui ◽  
1998 ◽  
Vol 27 (1) ◽  
pp. 33
Author(s):  
Suzanne Chávez-Silverman
Keyword(s):  
Sandra Cisneros ◽  
Alicia Gaspar De Alba

scholarly journals La frontera como zona de contacto transnacional en la literatura latina estadounidense

2017 ◽  
pp. 403-417
Author(s):  
Macarena Garcia-Avello
Keyword(s):  
Contact Zone ◽  
Cristina Garcia ◽  
Gloria Anzaldua ◽  
Sandra Cisneros ◽  
Julia Alvarez ◽  
The Political ◽  
Dreaming In Cuban ◽  
Alicia Gaspar De Alba ◽  
Cristina García

Esta investigación analiza las siguientes obras en relación con la teoría propuesta por Gloria Anzaldúa en Borderlands/ La Frontera: The New Mestiza (1987). The House on Mango Street (1984) de Sandra Cisneros, How the Garcia Girls Lost their Accent (1991) y Yo (1997) de Julia Álvarez, Dreaming in Cuban (1992) de Cristina García, Desert Blood: The Juarez Muerders (2005) de Alicia Gaspar de Alba y Las historias prohibidas de Marta Veneranda (1997) de Sonia Rivera-Valdés. Mi análisis parte de la tesis de que la idea de “la frontera” no se limita al contexto chicano, sino que proporciona una categoría de análisis muy útil a la hora de aproximarse a ciertas escritoras latinas de distintos orígenes y grupos sociales. Por lo tanto, la frontera se concibe como espacio transnacional que posibilita una zona de contacto en la que diferentes voces latinas articulan una epistemología inseparable de lo político.                                                                                                                                                                  Drawing on Gloria Anzaldúa's Borderlands/ La Frontera: The New Mestiza (1987), this article analyzes Sandra Cisneros's The House on Mango Street (1984), How the Garcia Girls Lost their Accent (1991) and Yo (1997) by Julia Álvarez, Cristina García's Dreaming in Cuban (1992), Alicia Gaspar de Alba's Desert Blood: The Juarez Muerders (2005) and Sonia Rivera-Valdés' Las historias prohibidas de Marta Veneranda (1997). The borderlands goes beyond the Chicano context, offering a useful category of analysis when approaching different latina writers. Therefore, the borderlands is conceived as a transnational contact zone where a wide variety of latinas voices articulate an epistemological narrative that cannot be separated from the political. 

scholarly journals ESPECULARES IDENTIDADES ENMASCARADAS EN EL CUENTO “BIEN PRETTY” DE SANDRA CISNEROS

2016 ◽  
Vol 254 ◽  
pp. 91-102
Author(s):  
Guadalupe Pérez-Anzaldo
Keyword(s):  
Sandra Cisneros

Número misceláneo

scholarly journals Latina Humor in the Works of Sandra Cisneros

2020 ◽  
pp. 609-616
Author(s):  
Zsófia Anna Tóth
Keyword(s):  
Point Of View ◽  
Sandra Cisneros ◽  
Artistic Expression ◽  
Pain And Suffering ◽  
Women's Humor

Abstract: The paper discusses three works written by Sandra Cisneros, namely Woman Hollering Creek, The House on Mango Street and Caramelo, from the point of view of women’s humor. With the help of these works, it is argued that Cisneros uses Latina humor in order to highlight intersectional problems concerning her identity and to reveal important facts and features about/of Latino/a existence. The point is made that Cisneros uses comedy and humor to redeem the pain and suffering through laughter instead of utilizing the tragic mode of artistic expression, hence she is able to secure survival and solutions to problems instead of a tragic wallowing in negativity (which interpretive way could also have validity concerning the occurrences which are narrated).      Keywords: Latina humor, Sandra Cisneros, Woman Hollering Creek, The House on Mango Street, Caramelo

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