Cover

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Frontmatter

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Contents

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p. vii

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Preface

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pp. ix-xvi

I, like Helena Mar

Acknowledgments

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p. xvii

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Chapter 1. "UNIR LOS LAZOS:" BRAIDING CHICANA AND MEXICANA SUBJECTIVITIES

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pp. 1-18

My interest in comparing Mexicana literature and Chicana literature began during a year of study at la Universidad Nacional Aut

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Chapter 2. CROSSING BORDERS AND BLURRING BOUNDARIES: SANDRA CISNEROS RE-VISIONS THE WAILING WOMAN

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pp. 19-44

Chapter 1 discusses the early work of Chicana feminist critics as well as more recent significant scholarship by Chicana critics. When analyzing these critics’ work as a whole, the following political/theoretical projects may be seen: (1) a redefinition and transformation of family institutions;1 (2) a critique of the patriarchy in the dominant culture and in Chicanas’ own communities; (3) a collectivization of certain relevant cultural...

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Chapter 3. "NO DEJEN QUE SE ESCAPEN": CARMEN BOULLOSA AND LAURA ESQUIVEL

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pp. 45-64

Chicana literature, like Mexicana literature, is not always given due to the increase in translated texts. Nevertheless, few critical studies have focused specifically on women’s contributions to the field, and the texts that have been translated are often parative critical studies of these two national literatures are...

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Chapter 4. ACTS OF DAILY RESISTANCE IN URBAN AND RURAL SETTINGS: THE FICTION OF HELENA MARIA VIRAMONTES

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pp. 65-88

The fiction of Helena María Viramontes is involved in the unique praxis of third world feminisms as it simultaneously examines multiple issues.1 As one of the most socially and politically conscious writers of today, Viramontes presents global concerns in her short stories and proposes international coalitions through her narratives. The short story “Cariboo Café”...

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Afterword

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pp. 89-98

My project or “story” began in 1990 as a graduate student. As a woman I wanted to tell the story of brave Chicanas and Mexicanas who battled patriarchy. I hoped to describe the challenges, the struggles, the successes and sometimes failures of women who resist accepting the role that previous generations have handed down to them. I wanted to tell the story of the brave women who write about once-forbidden subjects and...

Notes

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pp. 99-108

Bibliography

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pp. 109-122

Index

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pp. 123-129