Making Face, Making Transcultural Home in Sandra Cisneros’s The House on Mango Street
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Following Anzaldúa’s notions of a mestiza consciousness and making face, this paper explores Chicana writer Sandra Cisneros’s The House on Mango Street in terms of a transcultural Bildungsroman. Set in a crowded Latino neighborhood in Chicago, the coming-of-age story revolves around the developmental process of the ethnically sexualized, working-class Chicana daughter-narrator Esperanza who becomes a new mestiza equivalent to a speaking subject in cultural and communal borderlands. It is based on the gendered articulations of Chicanas and a poetic web of house images. By recounting the marginalized and impoverished lives of various Chicanas locked in their tower called home, the Chicana daughter within the conflicts between self and community comes to be subversively empowered to leave her parents’ home and rebuild her own house synonymous with potential spaces to achieve a sense of identity and belongingness.
Abstract
Following Anzaldúa’s notions of a mestiza consciousness and making face, this paper explores Chicana writer Sandra Cisneros’s The House on Mango Street in terms of a transcultural Bildungsroman. Set in a crowded Latino neighborhood in Chicago, the coming-of-age story revolves around the developmental process of the ethnically sexualized, working-class Chicana daughter-narrator Esperanza who becomes a new mestiza equivalent to a speaking subject in cultural and communal borderlands. It is based on the gendered articulations of Chicanas and a poetic web of house images. By recounting the marginalized and impoverished lives of various Chicanas locked in their tower called home, the Chicana daughter within the conflicts between self and community comes to be subversively empowered to leave her parents’ home and rebuild her own house synonymous with potential spaces to achieve a sense of identity and belongingness.
참고문헌 (20)
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