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Chicana/o Subjectivity and the Politics of Identity: Between by C. Gallego

By C. Gallego

This ebook strains the impression of Hegel's concept of popularity on various literary representations of Chicano/a subjectivity, with the purpose of demonstrating how the id pondering attribute of Hegel's thought is unwillingly bolstered even in matters which are represented as rebelling opposed to liberal-humanist ideologies.

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Extra resources for Chicana/o Subjectivity and the Politics of Identity: Between Recognition and Revolution

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So long as recognition provides an adequate amount of enjoyment, either symbolic or material, the existing social order is under no significant threat from those who are marginalized and/or alienated. For, as Lacan reminds us in regard to Hegel’s philosophy, it is our aggressive narcissism that forms the foundation of civilization and fuels our fearful dependency on identity, from the lowest slave’s ability to find self hood in enslavement to the most powerful ruler’s inability to not see himself in the radical otherness of the slave.

This is why, as I attempt to demonstrate in this book, recognition reinforces racism in democratic societies rather than combating it. Recognition does nothing to change the status quo, but instead interpellates individuals into the state of the situation, thereby allowing for the continual repression of the truth that can undo the order of things: void is the proper name of being. Non-Being and (of ) Chicano/a Subjectivity A project addressing the relation between the Chicano/a subject and the ontological thesis “void is the proper name of being” seems both timely and redundant.

In order to analyze how the epic form of the poem undermines its revolutionary aspirations, it is first necessary to brief ly summarize some of the basic qualities of modern epic poetry as a means of establishing those characteristics that make I Am Joaquín either traditional or divergent in its use of this classical literary form. Singing the Zeitgeist: Modernity and Epic Poetry In her analysis of Alice Notley’s epic poem, The Descent of Alette (1992), Page DuBois asks the pertinent questions, “What could be more arrièregarde, trailing behind, looking backward, than an epic poem written at the end of the twentieth century?

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