By Lyn Di Iorio Sandin, Richard Perez
This can be the 1st inter-group and gender inclusive number of scholarship in U.S. Latino literary feedback that starts with the belief that the literature written by means of U.S. Latinos is as vital an item of scholarship as U.S. Latino/a background, sociology, and tradition, fields that experience ruled past inter-group anthologies. probably the most vital and insightful Latino and Latina literary students within the box write on authors from the 4 significant Latino/a groups-- Cuban American, Dominican American, Mexican American, and Puerto Rican American. The anthology evaluates the kingdom of U.S. Latino/a literary research and initiatives a imaginative and prescient of that learn for the twenty-first century. This e-book is split into 4 significant parts of literary inquiry: analyses of the psychic family among the Latino/a topic and its mimetic others; explorations of the complexities of race and Afro-Latino/a poetics; experiences of the illustration of work within the Latino/a literary mind's eye; and genealogical and archival evaluate of U.S. Latino literature’s dating with American, Caribbean, and Latin American literatures and histories.
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Additional info for Contemporary U.S. Latino a Literary Criticism (American Literature Readings in the Twenty-First Century)
T. Mitchell defines ekphrasis as “the verbal representation of visual representation” (p. 702). Etymologically the term literally means “giving voice to a mute art object” (p. 153). I will argue that Rosario’s use of ekphrasis structures the epistemological foundations of her novel and, simultaneously, destabilizes 36 VICTORIA A. CHEVALIER those same foundations; if her work “reads like the snapshot of a soul,” it does so by interrogating the rhetorical play produced by specific sorts of ekphrastically described visual media—specifically the photograph–postcard—in their relation to the function of the souvenir.
1900 PRINTED BY: PETER J. / OTTO NATHER CO. HAMBURG, GERMANY They are naked. The boy cradles the girl. Their flesh is copper. They recline on a Victorian couch surrounded by cardboard Egyptian pottery; a stuffed wild tiger, a toy drum, and glazed coconut trees. An American prairie looms behind them in dull oils. Shadows ink the muscles of the boy’s arms, thighs and calves. His penis lies flaccid. Cheekbones are high, as if the whittler of his bones was reveling when She carved him. The girl lies against the boy.
Apparently, through an image, photographic or otherwise, as opposed to words; it is through the image that a more immediate route to viewing an object is promised. ”2 The interpretation of a descriptive text through a representation of a visual image is precisely one of the projects Rosario’s novel undertakes. Song of the Water Saints approaches this intersection of literary language and visual image through an initial use of ekphrasis that structures the entirety of the novel. T. Mitchell defines ekphrasis as “the verbal representation of visual representation” (p.