Sandra Cisneros

Author(s):  
Danielle Haque

The “About the Author” section of Sandra Cisneros’s second book, The House on Mango Street, includes the following description: “The daughter of a Mexican father and a Mexican-American mother, and sister to six brothers, she is nobody’s mother and nobody’s wife.” This autobiographical sentence epitomizes Cisneros’s oeuvre, acknowledging the significance of family and roots while defying stereotypes of Chicana women as defined by marriage and motherhood. Cisneros was born in Chicago on 20 December 1954. During her early childhood, her father moved the family between Mexico City and Chicago every few years, and Cisneros writes about how these perpetual disruptions and border crossings contributed to the cultural hybridity found in her work. Cisneros holds a BA from Loyola University and an MFA in creative writing from the University of Iowa Writer’s Workshop. She has written about how her experience as an outsider in her graduate program—as Chicana, female, and working class—shaped her work. Cisneros charted new literary territory through both the form and content of her writing, beginning with the publication of The House on Mango Street, a series of vignettes narrated from the margins of society that defies categorization with its experimental form and simple prose style. It was at the vanguard of Chicana feminism and one of the first works by a Chicana writer to enter the literary mainstream. Cisneros’s emergence in the 1980s was part of a larger movement of Chicana writing, including authors such as Lorna Dee Cervantes, Denise Chavez, Gloria Anzaldúa, and Cherrie Moraga. Debates about her work include criticism of her portrayals of Chicano men and culture, and accusations of self-exoticization and essentialism in her interviews and poetry. Cisneros has taught as a professor of creative writing at University of California at Berkeley, University of California at Irvine, University of Michigan at Ann Arbor, and University of New Mexico at Albuquerque. She has written novels, poems, prose pieces, and children’s literature, and for numerous periodicals. Her awards include National Endowment of the Arts Fellowships, the Lanan Literary Award, the American Book Award, the PEN Center West Award for Best Fiction, the Texas Medal of the Arts, and a MacArthur Fellowship. Committed to working on behalf of creative writers, Cisneros is the founder of the Latino MacArthur Fellows (Las MacArturos), the Alfredo Cisneros Del Moral Foundation, the Elvira Cisneros Award, and the Macondo Foundation. For twenty-five years she lived in San Antonio, Texas, and was known for her social justice activism as well as for painting her historic home a delightful and unlawful shade of purple. She now resides in Guanajuato, Mexico.

2016 ◽  
Vol 6 (3) ◽  
pp. 80-83
Author(s):  
Greg Niemeyer

With Brittney Silva’s tragic May 2014 death fresh in everyone’s memory, the city of San Leandro began collaboration efforts between them and University of California, Berkeley to do something to make the city safer for pedestrians. A course was developed at UC Berkeley called Sensing Cityscapes, offered Fall 2015, aiming to collect data about human activities too often ignored. As part of the interdisciplinary UC Berkeley Global Urban Humanities Initiative, the class aimed to harness methods not just from city planning, engineering, and architecture, but from the humanistic disciplines, cognitive science, art, public health, and performance studies, bringing students together from each field. We now are bringing the installation back to the streets of San Leandro with the support of a National Endowment for the Arts (NEA) Our Town grant for a project called San Leandro Lights. Transferring the project from the lab back to the street, we hope that the positive effect for individuals we observed in the lab will remain, and that responsive lighting will create a dynamic culture of attention.


PMLA ◽  
2017 ◽  
Vol 132 (3) ◽  
pp. 659-667 ◽  
Author(s):  
Lisa Marie Rhody

The challenge facing “distant reading” has less to do with Franco Moretti's assertion that we must learn “how not to read” than with his implication that looking should take the place of reading. Not reading is the dirty open secret of all literary critics-there will always be that book (or those books) that you should have read, have not read, and probably won't read. Moretti is not endorsing a disinterest in reading either, like that reported in the 2004 National Endowment for the Arts' Reading at Risk, which notes that less than half the adult public in the United States read a work of literature in 2002 (3). In his “little pact with the devil” that substitutes patterns of devices, themes, tropes, styles, and parts of speech for thousands or millions of texts at a time, the devil is the image: trees, networks, and maps-spatial rather than verbal forms representing a textual corpus that disappears from view. In what follows, I consider Distant Reading as participating in the ut pictura poesis tradition-that is, the Western tradition of viewing poetry and painting as sister arts-to explain how ingrained our resistances are to Moretti's formalist approach. I turn to more recent interart examples to suggest interpretive alternatives to formalism for distant-reading methods.


PMLA ◽  
2008 ◽  
Vol 123 (3) ◽  
pp. 718-722 ◽  
Author(s):  
Kathleen Fitzpatrick

I was invited by the MLA committee on the status of graduate students in the profession to speak at a convention workshop entitled “Keywords for a Digital Profession.” My keyword was obsolescence, a catchall term for a multiplicity of conditions; there are material obsolescences, institutional obsolescences, and purely theoretical obsolescences, each type demanding a different response. I spent years pondering theoretical obsolescence while writing The Anxiety of Obsolescence: The American Novel in the Age of Television. The book argues, in part, that claims about the obsolescence of cultural forms often say more about those doing the claiming than they do about the objects of the claims. Neither the novel in particular nor the book more broadly nor print in general is dead, and agonized announcements of the death of such technologies and genres often serve to re-create an elite cadre of cultural producers and consumers, ostensibly operating on the margins of contemporary culture and profiting from their claims of marginality by creating a sense that their own values, once mainstream and now decaying, must be protected. Two oft-cited reports of the National Endowment for the Arts, Reading at Risk (2004) and To Read or Not to Read (2007), come to mind; like numerous other expressions of anxiety about the supposed decline of reading, each rhetorically creates a cultural wildlife preserve in which the apparently obsolete can flourish (United States). These texts suggest that obsolescence is, in this case at least, less a material state than a political project.


2012 ◽  
Vol 33 (1) ◽  
Author(s):  
John Derby

<p class="MsoNormal" style="text-indent: .5in; line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;;">This essay uses Couser&rsquo;s presentation of autopathography as a frame for disseminating creative autoethnographic research practices. The preface outlines the conceptual framework for the research, which critically explores personal, cultural, and institutional contexts of mental disability discourses in response to Foucault&rsquo;s thesis that the arts dismantle normalizing myths about mental disability. Following Foucault&rsquo;s treatment of visual, performing, and literary arts as a homogeneous entity, the ensuing story demonstrates how traditional and emerging art practices and creative writing can be hybridized to create complex representations of disability that challenge ableist, normalizing discourses.</span></p><p class="MsoNormal" style="text-indent: .5in; line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;;">keywords: art, autopathography, hybridity, mental illness, mental disability</span></p><!--[if gte mso 10]> <mce:style><! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} > <! [endif] ></d-->


Navegações ◽  
2018 ◽  
Vol 11 (1) ◽  
pp. 68
Author(s):  
Luiz Antonio de Assis Brasil ◽  
Bernardo Bueno ◽  
Luís Roberto de Souza Júnior ◽  
Moema Vilela Pereira ◽  
Ángela María Cuartas Villalobos ◽  
...  

Este artigo analisa os resultados da segunda etapa da pesquisa Escrita criativa na Academia: a formação do escritor, desenvolvida desde 2015 no Programa de Pós-graduação em Letras (PPGL) PUCRS, cujo objetivo geral é verificar a estrutura curricular e as condições de ensino oferecidas pelos cursos de mestrado e doutorado voltados para a formação do escritor e do pesquisador na área de Escrita Criativa na universidade. Nesta etapa, procurou-se verificar qual a percepção dos discentes acerca das disciplinas oferecidas, bem como os procedimentos metodológicos adotados no curso, visando melhor adequação dessas propostas, bem como apontar caminhos para uma implantação ampla da Área da Escrita Criativa no Brasil. *** Alumni methodological and curricular notes for postgraduate courses in Creative Writing in Brazil ***This article analyses the results of the second stage of the research Creative Writing in Academia: the writer’s education, developed since 2015 at the Pontifical Catholic University of Rio Grande do Sul (PUCRS) Graduate Program in Letters. The general objective is to verify the curricular structure and the teaching conditions offered by the Masters and Doctoral courses focusing on the education of writers and researchers in the area of Creative Writing at PUCRS. At this stage, we sought to ascertain the students’ perceptions about the modules and methodological procedures adopted in the course, aiming at a better development of these proposals, as well as to point out ways for a wider implantation of Creative Writing in Brazil.Keywords: Creative Writing; Higher Education; Graduate Studies; PUCRS; Brazil.


1978 ◽  
Vol 8 (2-3) ◽  
pp. 110-110

The National Endowment for the Arts awards grants for projects related to the arts, and makes grants to museums, theatres, dance companies, and educational institutions in the United States to help support and improve their programs. Because of the Endowment's organization it was not possible to compile a list of Africa-related grants.


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