체리 모라가의 극에서 경계지대와 해방의 지리
Borderlands and Geographies of Liberation in Cherríe Moraga’s Plays
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This essay explores the ways in which the borderlands of Chicanos are symbolically transformed from “a vague and undermined place” to a future freedom in Cherríe Moraga’s The Heroes and Saints, Watsonville, and The Hungry Women. By utilizing Gloria Anzaldúa’s theory of borderlands along with the geographic concepts of race, culture, gender, and sexuality, this essay argues that these plays function as a kind of “war on forgetfulness” in order to help the audience recognize the spatial loss of Chicanos in McLaughlin, Watsonville, and Phoenix. In these borderlands, residents are excluded on the basis of the “imaginary geography” of the dominant system. The differences of race, culture, gender, and sexuality serve as dominant ideologies to justify the geographical division through conquest, mapping, or mythology. Chicano voices have long been deleted and silenced, yet Moraga’s plays set the stage for the liberation of such unstable Chicano identities as laborers, illegal immigrants, and homosexuals. Here, she creates ‘new mestizas’ based on Aztlán as symbols of the spirit of freedom, which will disrupt barriers and call for a tolerance of differences. In the context of the politics of space, these plays “write freedom” by way of crossing borders spatially manifested in the geography of exclusion, economic enslavement, and patriarchal nationalism.
Abstract
This essay explores the ways in which the borderlands of Chicanos are symbolically transformed from “a vague and undermined place” to a future freedom in Cherríe Moraga’s The Heroes and Saints, Watsonville, and The Hungry Women. By utilizing Gloria Anzaldúa’s theory of borderlands along with the geographic concepts of race, culture, gender, and sexuality, this essay argues that these plays function as a kind of “war on forgetfulness” in order to help the audience recognize the spatial loss of Chicanos in McLaughlin, Watsonville, and Phoenix. In these borderlands, residents are excluded on the basis of the “imaginary geography” of the dominant system. The differences of race, culture, gender, and sexuality serve as dominant ideologies to justify the geographical division through conquest, mapping, or mythology. Chicano voices have long been deleted and silenced, yet Moraga’s plays set the stage for the liberation of such unstable Chicano identities as laborers, illegal immigrants, and homosexuals. Here, she creates ‘new mestizas’ based on Aztlán as symbols of the spirit of freedom, which will disrupt barriers and call for a tolerance of differences. In the context of the politics of space, these plays “write freedom” by way of crossing borders spatially manifested in the geography of exclusion, economic enslavement, and patriarchal nationalism.
참고문헌 (15)
- La Fronters: The New Mestiza, "Borderlands", pp.2012, Anzaldúa, Gloria
- DeRose, David J., "Cherríe Moraga: Mapping Aztlán", American Theatre, 13(8), pp.76~78 (1996)
- Gomez-Pena, Guillermo, "New World Border" (1996), City Lights
- Greenberg, Linda M., "Learning from the Dead : Wounds, Women, and Activism in Cherríe Moraga’s Heroes and Saints", MELUS, 34(1), pp.163~184 (2009)
- Huerta, Jorge, "Chicano Drama" (2000), Cambridge UP
- Jacobs, Elizabeth, "Theatre on the Border in Cherrie Moraga’s The Hungry Woman : A Mexican Medea", Journal of Adaptation in Film & Performance, 1(3), pp.177~189 (2008)
- Johnson, David E., "Border Theory: The Limits of Cultural Politics" (1997), U of Minnesota P
- Mendoza, Ruben, "Some No-Place Like Home : Thirdspace Production in Cherríe Moraga’s Watsonville", Confluencia, 26(1), pp.132~140 (2010)
- Moraga, Cherríe, "Forward: Hungry for God. The Hungry Woman and Heart of the Earth", pp.vii~x (2001), West End P
- Moraga, Cherríe, "Heroes and Saints. Heroes and Saints & Other Plays", pp.85~149 (1994), West End P
- Moraga, Cherríe, "The Last Generation; Prose and Poetry", pp.145~174 (1993), South End P
- Moraga, Cherríe, "The Last Generation; Prose and Poetry", pp.56~59 (1993), South End P
- Moraga, Cherríe, "The Hungry Woman. The Hungry Woman and Heart of the Earth", pp.1~99 (2001), West End P
- Moraga, Cherríe, "Watsonville: Some Place Not Here. Watsonville and Circle in the Dirt", pp.2~108 (2002), West End P
- Saborio, Linda, "Embodying Difference: Scripting Social Images of the Female Body in Latina Theatre" (2012), Fairleigh Dickinson UP