Decolonial Spaces of Belonging in Chicana and Ukrainian-German Creative Nonfiction

IF 0.2 4区 文学 0 LITERARY THEORY & CRITICISM
Arne Romanowski
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It connects recently published creative nonfiction from two spaces inside of the US and Europe, arguing that they work as decolonial responses within the \"cracks and fissures\" of Western civilization, to borrow Catherine Walsh's words. My analysis puts into conversation two works that were published in 2016, the first one in the US and the second one in Germany. Black Dove: Mamá, Mi'jo and Me is a collection of autobiographical essays by Chicana writer Ana Castillo, and Das Lächeln meines unsichtbaren Vaters [My Invisible Father's Smile, all translations mine] is a memoir by Ukrainian-German author Dimitrij Kapitelman. Both groups—Chicanos, or Americans of Mexican descent, and Ukrainian-Germans, along with other Germans of Central and East European descent—have historically sought inclusion and at the same time resisted hegemonic Western-Eurocentric narratives of belonging in the US and in Germany, respectively1. I acknowledge that when initially thinking about these two populations, what might come to mind may be how different they appear to be from one another. Yet— and this is what brought me to this project in the first place—one can observe considerable parallels between both groups' experiences. These include, for example, histories of territorial disputes, occupations, and shifting borders; encounters with modern/colonial discourses that negatively affect one's sense of belonging; the hegemony of dominant cultural practices over those deemed to be \"other\" or \"inferior\"; and the US and Germany's central economic positioning that, coupled with the practice of economic imperialism, has turned them into primary destinations for migrants.2 Finally, both countries' colonial endeavors—which are directly connected to and speak about the presence of modern/ colonial structures—are largely silenced in the stories both nations tell about themselves.3 [End Page 79] Within the literary realm, interesting parallels between the two sets of textual productions can also be observed. Over the past few decades, works by both Chicanx and Central/East European German writers have succeeded in carving out a more affirmative place in their respective US and German literary landscapes.4 Yet, I think it would be a stretch to claim that they are now part of the establishment, as they continue to exhibit traits of peripheralized literatures. For example, Latinx (this includes Chicanx) literature in the US is still generally \"juxtaposed to canonical and popular Anglo texts […] and continually subordinated by white supremacist markets and logics\" (Figueroa Vásquez 4), and I would add that the German case is similar, with the \"centric\" point of reference being German canonical and popular texts. In her study of literary history, for example, Pauwke Berkers finds that at least until 2006 ethnic minority writers were underrepresented in literary anthologies in Germany (426). A quick glance at a random selection of reading lists for earning degrees in German literature—by the German departments at the University of Koblenz and the University of Munich, for example—confirm the finding that authors of migrant background are underrepresented or not represented at all.5 Figueroa Vásquez confirms that \"a sustained meditation of peripheralized literatures allows us to glimpse often-ignored sets of knowledges and experiences.\" (n.p.) In other words, it allows us to see the decolonial work that is being done in the cracks and fissures of mainstream thought and literary production and publication, which—to a considerable degree—continue to be shaped by modern/colonial ideas. However, notwithstanding the parallels briefly outlined above, it is rather uncommon to see Chicanx and Ukrainian-German experiences in dialogue, a void that this article is seeking to fill. 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引用次数: 0

Abstract

Decolonial Spaces of Belonging in Chicana and Ukrainian-German Creative Nonfiction Arne Romanowski The narratives that continue to shape the dominant perception of migrants and their descendants in today's world are very similar, and often clearly informed by colonial ways of thinking about identity, belonging, and consequentially about migrants as Others. Yet, migration stories across different spaces and generations also share other elements, such as the empowerment that stems from the experience of navigating multiple identities, perspectives, languages, and ways of living. This article focuses on how such narratives of empowerment and belonging are constructed and made visible. It connects recently published creative nonfiction from two spaces inside of the US and Europe, arguing that they work as decolonial responses within the "cracks and fissures" of Western civilization, to borrow Catherine Walsh's words. My analysis puts into conversation two works that were published in 2016, the first one in the US and the second one in Germany. Black Dove: Mamá, Mi'jo and Me is a collection of autobiographical essays by Chicana writer Ana Castillo, and Das Lächeln meines unsichtbaren Vaters [My Invisible Father's Smile, all translations mine] is a memoir by Ukrainian-German author Dimitrij Kapitelman. Both groups—Chicanos, or Americans of Mexican descent, and Ukrainian-Germans, along with other Germans of Central and East European descent—have historically sought inclusion and at the same time resisted hegemonic Western-Eurocentric narratives of belonging in the US and in Germany, respectively1. I acknowledge that when initially thinking about these two populations, what might come to mind may be how different they appear to be from one another. Yet— and this is what brought me to this project in the first place—one can observe considerable parallels between both groups' experiences. These include, for example, histories of territorial disputes, occupations, and shifting borders; encounters with modern/colonial discourses that negatively affect one's sense of belonging; the hegemony of dominant cultural practices over those deemed to be "other" or "inferior"; and the US and Germany's central economic positioning that, coupled with the practice of economic imperialism, has turned them into primary destinations for migrants.2 Finally, both countries' colonial endeavors—which are directly connected to and speak about the presence of modern/ colonial structures—are largely silenced in the stories both nations tell about themselves.3 [End Page 79] Within the literary realm, interesting parallels between the two sets of textual productions can also be observed. Over the past few decades, works by both Chicanx and Central/East European German writers have succeeded in carving out a more affirmative place in their respective US and German literary landscapes.4 Yet, I think it would be a stretch to claim that they are now part of the establishment, as they continue to exhibit traits of peripheralized literatures. For example, Latinx (this includes Chicanx) literature in the US is still generally "juxtaposed to canonical and popular Anglo texts […] and continually subordinated by white supremacist markets and logics" (Figueroa Vásquez 4), and I would add that the German case is similar, with the "centric" point of reference being German canonical and popular texts. In her study of literary history, for example, Pauwke Berkers finds that at least until 2006 ethnic minority writers were underrepresented in literary anthologies in Germany (426). A quick glance at a random selection of reading lists for earning degrees in German literature—by the German departments at the University of Koblenz and the University of Munich, for example—confirm the finding that authors of migrant background are underrepresented or not represented at all.5 Figueroa Vásquez confirms that "a sustained meditation of peripheralized literatures allows us to glimpse often-ignored sets of knowledges and experiences." (n.p.) In other words, it allows us to see the decolonial work that is being done in the cracks and fissures of mainstream thought and literary production and publication, which—to a considerable degree—continue to be shaped by modern/colonial ideas. However, notwithstanding the parallels briefly outlined above, it is rather uncommon to see Chicanx and Ukrainian-German experiences in dialogue, a void that this article is seeking to fill. In order to achieve this...
墨西哥和乌克兰-德国非虚构创作的非殖民化归属空间
在当今世界,继续塑造对移民及其后代的主流认知的叙事非常相似,而且往往清楚地受到殖民思维方式的影响,这些思维方式涉及身份、归属感,并因此将移民视为他人。然而,跨越不同空间和世代的移民故事也有其他共同的元素,例如,驾驭多种身份、观点、语言和生活方式的经验所产生的赋权。本文关注的是如何构建这种赋权和归属感的叙事并使其可见。它将最近出版的来自美国和欧洲两个空间的创造性非小说类作品联系起来,认为借用凯瑟琳·沃尔什(Catherine Walsh)的话,它们是西方文明“裂缝和裂缝”中的非殖民化反应。我的分析以2016年出版的两部作品为例,第一部在美国,第二部在德国。《黑鸽子:妈妈、妈妈和我》是一本由墨西哥作家安娜·卡斯蒂略撰写的自传体散文集,而《我看不见的父亲的微笑》则是乌克兰裔德国作家迪米特里·卡皮特曼的回忆录。这两个群体——墨西哥裔美国人、乌克兰裔德国人,以及其他中欧和东欧裔德国人——历史上一直在寻求包容,同时抵制分别属于美国和德国的以西欧为中心的霸权叙事。我承认,当最初想到这两个群体时,可能会想到他们彼此之间的差异。然而——这也是我最初参与这个项目的原因——人们可以观察到两组人的经历之间有相当多的相似之处。例如,这些包括领土争端、占领和边界变化的历史;与现代/殖民话语的接触会对一个人的归属感产生负面影响;主导文化实践对那些被认为是“他者”或“劣等者”的文化实践的霸权;美国和德国的中心经济定位,加上经济帝国主义的实践,使它们成为移民的主要目的地最后,这两个国家的殖民斗争——与现代/殖民结构的存在直接相关——在两国讲述自己的故事中基本上是沉默的。在文学领域内,也可以观察到两组文本作品之间有趣的相似之处。在过去的几十年里,芝加哥和中欧/东欧德国作家的作品都成功地在他们各自的美国和德国文学景观中占据了更积极的地位然而,我认为声称他们现在是建立的一部分是一种延伸,因为他们继续表现出外围文学的特征。例如,美国的拉丁文学(包括墨西哥文学)通常仍然“与权威和流行的盎格鲁文本并列[…],并不断从属于白人至上主义的市场和逻辑”(Figueroa Vásquez 4),我想补充一点,德国的情况也是类似的,“中心”参考点是德国的权威和流行文本。例如,在她对文学史的研究中,波克·伯克发现,至少在2006年之前,少数民族作家在德国文学选集中的代表性不足(426)。快速浏览一下随机挑选的德国文学学位阅读书目——比如科布伦茨大学和慕尼黑大学的德国系——就可以证实这样一个发现:移民背景的作者很少被代表,或者根本没有被代表Figueroa Vásquez证实,“对外围文学的持续沉思使我们能够瞥见经常被忽视的知识和经验集。”(n.p)。换句话说,它让我们看到在主流思想和文学生产和出版的裂缝中正在进行的非殖民化工作,这些工作在相当程度上继续受到现代/殖民思想的影响。然而,尽管上面简要概述了相似之处,但在对话中很少看到墨西哥人和乌克兰-德国人的经历,这是本文试图填补的空白。为了实现这一目标……
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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