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 handle 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 contours: A Theoretical Intervention," which explores the circle and the move 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 international locations. yet what occurs after we situate the border at the cultural terrain? How good does the border go back and forth? "Part III: Cultural Intersections" expands the border come across because it offers with the several ways that texts are encoded, registered, appropriated, mimicked and remodeled in different cultural texts. "Part IV: Trans-Nations," addresses situations of trans-American relatives 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 reviews, Chicano stories, "Ethnic Studies," in addition to American Literature and tradition
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Additional resources for Border Transits: Literature and Culture across the Line.
For the freeway contrasts the multi-level intersections (where no one crosses) versus the cross-roads. There is no real cross-ing at the highway, hence Fierro’s discomfort and his symbolic gesture of turning off his hearing aid. ” If a place can be defined as “relational, historical and concerned with identity, then a space that cannot be defined as relational, or historical, or concerned with identity will be a nonplace” (1992: 78). The freeway stands as such a non-place, as a site that has cut off the ties with the past.
She was reminded that her home came under a larger demarcation, “BIXBY BOYS RULE” (1995: 119). Her reaction is instinctive and immediate. She needs to reinforce her tight spatial perimeter—Hestia like: “She closed the door behind her, made sure all the locks were locked, unrolled the Venetian blinds, closed the drapes” (1995: 119), as she longs for her own dead-line: “I’m so glad I’m going to die soon” (1995: 119). Gun in hand, she poises herself as the guardian of the gate—whose role it is to check unwanted comers—, and readies herself to effect a ritual of cutting.
Marines out on a weekend pass who cross the border in search of all they have been told about Tijuana: They were told about semi-naked girls walking down the interminable main drag. They were told of surfing through clubs and bars, of mythical drinking binges with the flavor of blue Hawaiians, margaritas, long islands, tequila and beer. They whispered in their ears that old trap-astupid-gringo legend of the donkey show and, as good children of Middle America ... ’ (1997: 7) The expectations are to a point fulfilled and the young marines effortlessly encounter some aspects of the mythical Tijuana.