Download e-book for iPad: Border Transits: Literature and Culture across the Line. by Ana M. Manzanas
By Ana M. Manzanas
What constitutes a border scenario? How translatable and "portable" is the border? What are the borders of phrases surrounding the border? In its 5 sections, Border Transits: Literature and tradition around the Line intends to deal with those concerns because it brings jointly visions of border dynamics from either side of the Atlantic Ocean. the quantity opens with "Part I: (B)orders and features: A Theoretical Intervention," which explores the circle and the go as spatial configurations of 2 contradictory urges, to split and divide at the one hand, and to welcome and make allowance passage at the different. "Part II: Visions of the Mexican-US Border" zooms in onto the Mexican-United States border because it delves into the border transits among the 2 neighboring nations. yet what occurs after we situate the border at the cultural terrain? How good does the border shuttle? "Part III: Cultural Intersections" expands the border come upon because it offers with the several ways that texts are encoded, registered, appropriated, mimicked and reworked in different cultural texts. "Part IV: Trans-Nations," addresses cases of trans-American kin stemming from reviews of up-rooting and intercultural contacts within the context of mass-migration and migratory flows. eventually, "Part V: Trans-Lations," bargains with the ways that the cultural borderlands suffuse different discourses and cultural practices. the quantity is of curiosity for students and researchers within the box of Border reports, Chicano experiences, "Ethnic Studies," in addition to American Literature and tradition
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Like the Great Wall in the Kafka piece, the fence oscillates between completion and incompletion; or rather it is always in the process of being completed but also transgressed—Rafaela and Rodríguez witness how a serpent manages to find its way through it. Further, the fence is never finished—cannot be terminated—for it exhibits a visual and ontological elasticity that accompanies the characters for miles. As Rafaela gets on the bus to the border, she recognizes that not only Gabriel’s land but also the unfinished wall stretched and slid along, never leaving the bus to its northern destination.
So, as Manzanar Mukarami, a homeless character in Yamashita’s story sighs, there are maps and there are maps and there are maps. And the threefold repetition encompasses demarcations at three different levels: Some of the maps began within the very surface of the land, others encompassed all the political, class, cultural and linguistic demarcations in the city, with all the 24 Ana Mª Manzanas invisible but productive lines. Yet others reticulated the sky with a network of multiple maps and invisible world wide webs sent by a constellation of satellites, radio and electromagnetic waves dividing up a wide and endless sky.
To this chronic incompleteness, we have to add another disturbing aspect about the fence. Walls and separations, Henri Lefebvre argues, are meant to exhibit an arrogant verticality which introduces a phallic or phallocratic element into the visual realm; the aim of this need to impress “is to convey an impression of authority to each spectator,” given the fact that “verticality and great height have ever been the spatial expression of potentially violent power” (1991: 98). Yet the fence around Gabriel’s property does not intimidate, and hence cannot perform a ritual of cutting; for apart from its incompleteness, it seems to have a bulge, as Rafaela realizes when she looks at it through the curtain of rain: “She was not sure, but the fence was somehow curved, or maybe even longer, or stretched.
Border Transits: Literature and Culture across the Line. by Ana M. Manzanas