| Sandra Cisneros (1954-) is a celebrated Chicana writer who is still active in the contemporary American literary world. Her works portray Chicanas’life experiences and focus on their self-development. Cisneros provides an unequivocal representation of her doubt about the established hegemonic system from her perspective as a Chicana woman and her self-consciousness of articulating a powerful voice through the visual angle of a minority female writer. An attempt is made in the present dissertation to explore how Cisneros depicts Chicana experience in her stories as well as her poems, an experience which defines both the Chicana identity and the course of its construction. Her demonstrably fragmented writings can actually be considered to be an organic whole because they reflect the various factors of Chicana identity and, together, they serve to construct a collective identity for contemporary Chicanas.Identity transforms over time and depends on one’s subject position, but it is also deeply influenced by one’s traditional culture which is accumulated and retained through history. Thus, identity has the distinct features of being fluid and relatively stable; although its construction is based on one’s historical and cultural experiences, it is also grounded in the current reality. The same is true of Chicana identity. The construction of Chicana identity in Cisneros’s works is founded in historical context but assumes different characteristics during the different life stages of Chicana women; it is always in transition. Cisneros constructs a temporary identity status that reflects her conception of the optimal means for Chicanas’survival at a given point in time. The author also presumes that this identity is predictive and can offer prescriptions to inspire the self-development of Chicanas in the near future.This dissertation comprises five parts.The introduction presents an explanation of the complexity of Chicana identity, stating that the three identity factors this dissertation discusses-ethnicity, gender, and class-form the basis of the "triple oppression" Chicanas have experienced and resisted. The breakdown of chapters in this dissertation is also in the light of Chicanas’revolt against this "triple oppression." The introduction also reviews the most essential previous studies both home and abroad that have contributed to the research theme of this dissertation. Overseas studies, which have flourished since Chicana studies emerged in1980s, focus primarily on the construction of Chicana ethnic identity and gender identity in Cisneros’s works, virtually ignoring the identity factor of class. Domestic studies, which have only surfaced since the twenty-first century, mostly concentrate on gender issues. Although these studies form a solid foundation for this dissertation, they are fragmentary and devoid of a systematic approach to researching the construction of Chicana identity implicit in Cisneros’s works. Moreover, these studies neglect the potential for treating Cisneros works as an organic whole. The scope of the research, which includes all of Cisneros’s literary works, is delineated following the literature review. Finally, the two basic theories used in this dissertation-identity theory that demonstrates fluidity and relative stability of identity and the postmodern theory of decenterment-are introduced.The body of this dissertation consists of three chapters which consider and discuss the construction of Chicana ethnic identity, gender identity, and class identity in Cisneros’s literary works respectively.The first chapter examines the construction of ethnic identity and concentrates primarily on Cisneros’s Woman Hollering Creek (seven stories concerned), Caramelo, Loose Woman (two poems concerned), The House on Mango Street (one story concerned) and My Wicked Wicked Ways (one poem concerned). Based on Cisneros’s works, Chicana ethnic identity which is forged from the cultural experiences of both male and female members is one major factor of Chicana identity integrity that is constructed by Chicana women for the sake of the whole group. The research basis of this chapter is to treat Chicanas/os as an ethnic group. This dissertation contends that given their similar biological features and shared cultural signifiers, Chicanas/os conform to Chirs Barker’s definition of an ethnic group.Chicanas/os’historical experiences and cultural traditions are the cornerstones of the Cisneros’s construction of Chicana ethnic identity because they have resulted in racial and cultural distinctions which render the Chicana/o group different from other American groups. Cisneros gathers these ethnic distinctions from three historical eras, namely, the pre-Colombian/indigenous era, the Conquest era, and the Mexican national era. Cisneros’s works suggest that the pre-Colombian/indigenous era bestows upon Chicanas/os great mythology that invites a sense of rootedness and ethnic prosperity. The Conquest era results in the mixing of races which provides the origin for Chicanas’sense of hybridization or mestizo. The Mexican national era endows Chicanas/os with ethnic pride.However, Chicanas/os now live in American society, so the dominant American culture has become part of their culture. Conflict between Chicanas/os’traditional culture and the dominant American culture causes a crisis in ethnic identity construction. On the one hand, some Chicanas adhere either to Mexican values or dominant American values, resulting in one-sided orientation of Anglo conformity or Mexican conformity. Conversely, some other Chicanas reject both Mexican and dominant American values and face a neither-nor situation. Cisneros’s works reveal that the crux of this problem is Chicanas’ passivity. These women have failed to realize that they belong to an independent ethnic group which possesses the distinctive feature of cultural hybridization and, therefore, they should actively appropriate both cultures to construct a new identity for their own sake. Rather, they passively accept their awkward position of being a "cultural Other" and either to assimilate into other groups or consider their position as cultural in-betweenness. Consequently, they have become the by-products of other groups.Cisneros, therefore, uses her writings to urge Chicanas to break free from the cultural inscriptions maintained by both the Mexican group and the dominant American group, negotiate with them, and then reconstruct their past and present. In this way, Chicanas can possess their own ethnic history and traditions and construct their ethnic identity as mestizaje, an identity that acknowledges Chicana/o people’s mixed ancestry and their racial, cultural, and linguistic hybridity.The second chapter deliberates the construction of Chicana gender identity implicit in Cisneros’s works. The literary works discussed include The House on Mango Street (eight stories concerned), Woman Hollering Creek (six stories concerned), My Wicked Wicked Ways (five poems concerned), Caramelo, and Loose Woman (one poem concerned). This chapter first examines Chicano la familia ideology-which, as the most gender-oriented aspect of Chicano patriarchal system, directly confines Chicanas to their home space where men are the absolute dominators. Subsequently, it demonstrates how the three patriarchal female archetypes have exerted substantial influence on Chicana women’s lives under the guide of la familia ideology.Implicit within Cisneros’s works is a belief that the patriarchal notion in Chicano culture originates from Mexican male-centered cultural tradition and is strengthened and localized by Chicanos through la familia ideology. She reveals that by virtue of living in such a patriarchal culture, Chicanas are confined to the cultural system of the virgen/puta (or virgin/prostitute) dichotomy and live in the shadow of its three archetypal incarnations-La Virgen de Guadalupe, the perfect mother, La Malinche, the mother "traitor," and La Llorona, the demonized mother. Because they internalize the patriarchal inscriptions, many Chicanas believe in their "evil" nature. To rid themselves of this evil, they endeavor to become the "perfect"’mother, a goal that they will never achieve. The virgen/puta dichotomy is nothing but a patriarchal trick used by Chicanos to control Chicana women. Chicanas’self-sacrifice and submissiveness, the basic criteria for becoming the "perfect" mother according to Chicano patriarchy, serve to condone Chicano men’s hegemonic behavior and their ignorance of familial responsibility, thereby exacerbating the dysfunction of the Chicana/o family. However, according to the patriarchal rule, a "perfect" mother should well operate their family. Falling into such a patriarchal trap, Chicana women will be forever tortured and controlled by Chicano men.Accordingly, Cisneros indicates in her works that Chicana women should discard their passive and silenced gender roles and treat themselves as female speaking subjects. She proffers that articulating a subjective voice is essential for Chicanas to gain power. As speakers, these women can vocalize their sufferings, deconstruct patriarchal authority, and construct their gender identity. Cisneros also reveals that eradicating Chicano patriarchy presents a considerable challenge because it draws upon powerful cultural symbols that have been formed throughout history and become embedded in people’s hearts. Recognizing that the impact of these cultural symbols will never be totally erased, Cisneros rewrites them for Chicanas" own sake. She revises the three female cultural stereotypes that are products of Mexican history, changing them from silenced and passive objects into speaking and powerful subjects. In this way, Cisneros demonstrates her ideal for constructing Chicana gender identity, hoping that Chicanas will turn their submission and passivity into violation of traditional cultural inscription and, thereby, attain familial leadership.The third chapter of this dissertation concentrates on the construction of Chicana class identity in Cisneros’s works. The works discussed are:Caramelo, My Wicked Wicked Ways (nine pieces concerned), The House on Mango Street (four pieces concerned), Woman Hollering Creek (two pieces included), and Have You Seen Marie?. Cisneros illustrates the fluidity of class in these works and suggests that Chicanas should strive for a new class status to enhance their lives. The basic theory employed in this chapter is Karl Marx’s theory on working class and class mobility. Marx points out that the distinction of working-class people lies in their labor power that they sell as a commodity in an effort to survive. He also notes the irrevocable conflicts that exist between the classes and their implications of class mobility.Cisneros emphasizes Chicanas/os’working-class origin by underscoring Chicana/o immigrants’"labor history." Her works suggest that this working-class origin is of great significance in that it engenders a sense of ethnic pride and group solidarity. However, Chicanas’working-class status is currently more problematic than honorable. Too many working-class Chicanas not only endure absolute poverty, but they also suffer from physical and mental duress. To achieve class mobility, the author insinuates that it is imperative for today’s Chicanas to renounce these demoralizing circumstances and pursue a class identity for self-improvement. However, the plight of Chicanas is their inability to integrate themselves within the middle class, a class that is dominated by Anglo Americans and which comprises some values that contravene against Chicana ethnic or gender identity. Therefore, Chicanas should act as active agents to construct a class that represents themselves.Cisneros devises a leaving and returning route for the Chicana characters who practice the construction of class identity. She postulates that to improve themselves Chicanas should first infiltrate the border between the Chicana/o working-class barrio (or community) and mainstream society. When entering the outside world, Chicanas make personal observations and negotiate with it and the people there, especially the middle-class people. They become educated and self-improved. Subsequently, upon returning to the barrio, they help their barrio sisters.Cisneros’s apparent ideal is that the most creative subjects-the Chicana artists-should be responsible for constructing class identity because art and artists have the potential for interclass communication. Because it is appreciated by people of different classes, art can refine people’s sentiments and is, therefore, an apt instrument for interclass communication. Compared with other Chicanas, Chicana artists are more likely to get educated in the dominant society, join a profession, and improve themselves. They can subsequently use their knowledge and subjective voice to represent other Chicanas through art that records these women’s experiences and demands. Moreover, under the guise of art, Chicanas’articulation is more likely to be understood and accepted by dominant society. By virtue of their advantages, Chicana artists in Cisneros’s works construct an "amphibious" class identity.The conclusion begins by summarizing the process and temporary achievements of Cisneros’s Chicana identity construction, and then states the significance of the author and her works in the literati.Through her works, Cisneros articulates Chicanas’loss of voice, endows Chicana women with a subjective voice, and constructs an idealistic collective identity for them. Chicana identity emerges from Chicanas’active resistance against hegemonic power both within and outside the barrio. It foregrounds Chicanas’subjectivity and its construction is based on Chicana women’s personal experiences, their interaction with other people, and their social circumstances. In this sense, the author’s identity construction is a dynamic process. Cisneros’s body of work highlights that, during the process of construction, Chicanas can take some radical measures to facilitate the transition from which they gain their subject position. They can then revise their history and legitimize their existence to create new idiosyncratic features as well as construct their identity to facilitate their survival. The author also indicates that because of its sociality, Chicana identity cannot exist in isolation and must be developed in a relational context. Moreover, she also implies that since the construction of Chicana identity is a never-ending process, Chicanas should retain the subjectivity and modify the distinctions of their identity at any time as necessary. In short, the Chicana identity that Cisneros constructs in her works foregrounds Chicanas’ subject position and their effective adaptation to American society.As a minority writer, Cisneros’s final goal of identity construction is to decenter the hegemonic power, using Chicanas’ idiosyncratic nature to facilitate their integration into American society as well as enable them to be understood and accepted by others. Although the Chicana identity the author constructs in her works has certain limitations and cannot solve all the problems concerning Chicanas’ subsistence, the identity mode that she proposes encapsulates Chicana women’s sincere desires to broaden the prospects for Chicanas’future lives by breaking through racial, gender, and class limitations and adapting to American society. The Chicana identity Cisneros constructs in her writings ameliorates the connotations of Chicana works and contributes to the richness of contemporary Chicana literature. |
PDF Full Text Request