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>Women on the edge: Autobiographical selves and the lure of the boundary in twentieth-century United States literature (Maxine Hong Kingston, Gloria Anzaldua, Zora Neale Hurston, Leslie Marmon Silko).
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Women on the edge: Autobiographical selves and the lure of the boundary in twentieth-century United States literature (Maxine Hong Kingston, Gloria Anzaldua, Zora Neale Hurston, Leslie Marmon Silko).
This dissertation, Women on the Edge: Autobiographical Selves and the Lure of the Boundary in U.S. Literature, studies the politics of self-representation in literary autobiographies by women of color. I evoke theory derived from Latin American studies to explore twentieth-century personal narratives in relation to the understanding of boundaries as sites of rupture, connection, transmission, violence, and transformation. Rather than solely focusing on the concept of borders as nationalistic lines of demarcation dividing geopolitical space, I recognize the border as a trope that defines identity while delineating and connecting Self and Other, first world and third, male and female, fictional and nonfictional representations.; The postmodern, female-authored autobiographies that I study disrupt rigid formulations of autobiography as a factual, chronologic, first-person-singular life story. Building on the theories of James Olney, Philippe Lejeune, Sidonie Smith, Domna Stanton, and Leigh Gilmore, I propose a more elastic definition of autobiography that recognizes—validates—diverse subjectivities that depart from, or adapt, Western ideologies concerning selfhood. The texts central to this study are Maxine Hong Kingston's The Woman Warrior (1975) and China Men (1977), Gloria Anzaldúa's Borderlands/La Frontera (1987), Zora Neale Hurston's Dust Tracks on the Road (1942) and Leslie Marmon Silko's Storyteller (1981). The axes of geography, memory and body organize the project conceptually, illuminating the strategies of autobiographical self-invention in striking ways. In Chapter One, I pair Kingston's and Anzaldúa's autobiographies in order to highlight how the concepts of (re)imagined and ancestral homeland undermine dominant narratives of nation and rewrite women into nation-making moments. With special attention to the politics of cross-dressing and the economics of body, Chapter Two studies the representation of racialized bodies as aberrant, alien, or ghostly in Kingston's and Hurston's texts. Chapter Three explores memory as a border terrain where truth and imagination merge, testing the interface between fiction, nonfiction, authenticity, and autobiography in the works of Kingston and Silko.
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机译：本论文《边缘妇女：自传自我与美国文学的边界诱惑》研究了有色女性在文学自传中的自我表现政治。我回顾了源自拉丁美洲研究的理论，以探索二十世纪的个人叙述，这些叙述与对边界作为破裂，联系，传播，暴力和转变的场所的理解有关。我不仅将边界的概念视为划分地缘政治空间的民族主义分界线的概念，还认识到边界是定义身份并同时勾勒和连接自我和其他，第一世界和第三，男性和女性，虚构和非虚构的表示形式的一种隐喻。 ;我研究的由女性创作的后现代自传，破坏了自传的僵化形式，使之成为事实，按时间顺序，第一人称奇异的人生故事。在詹姆斯·奥尔尼，菲利普·勒让，西多妮·史密斯，多姆纳·斯坦顿和利·吉尔摩的理论的基础上，我提出了自传的更灵活的定义，该定义承认（验证）了偏离或适应西方关于人格意识形态的各种主观性。这项研究的主要文本是Maxine Hong Kingston的《女战士》 （1975）和 China Men （1977），GloriaAnzaldúa的 Borderlands / La Frontera 。 （1987），佐拉·尼尔·赫斯顿（Zora Neale Hurston）的《道路上的尘埃迹》（italic）（1942）和莱斯利·马蒙·西尔科（Leslie Marmon Silko）的 Storyteller （1981）。地理，记忆和身体的轴心从概念上组织了该项目，以醒目的方式阐明了自传自我发明的策略。在第一章中，我将金斯敦和安扎尔杜阿的自传进行配对，以强调（重新）想象和祖传祖国的概念如何破坏民族的主导性叙事，并将女性重写为民族创造的时刻。第二章特别着重于变装政治和身体的“斜体”经济学，第二章研究了在金斯敦和赫斯顿的著作中，种族化的身体表现为异常，外来或幽灵的表现。第三章探讨了记忆作为真理和想象力融合的边界地带，测试了金斯敦和西尔科作品中小说，非小说，真实性和自传之间的界面。
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