The beginning of the flow of migrants was marked by the Coronado expedition of 1540 (Ruiz 2000: 1), and ever since then, mexicanas have planted their roots in the land of the gringos, keeping their connections to their original culture through * Fecha de recepción: abril 2005 Fecha de aceptación y versión final: mayo 2005 ** Profesora del Departamento de Filología Española, Moderna y Latina, Universitat de les Illes Balears 1 This article has been researched and written within the framework of the research group “L’expressió de la diversitat en el món anglòfon”, at the UIB. Palabras clave: migración, identidad (étnica, de género y sexual), transgresión, frontera For the past four centuries, Mexican women have moved north to work in the United States of America.
Ambos textos crecen alrededor de la identidad étnica y de género, y ambos crean mundos en los que se rompen barreras y se transgreden límites con una clara conciencia feminista. The Hungry Woman se sitúa en una “tierra de nadie” a donde Medea es desterrada por lesbiana. En Real Women Have Curves las protagonistas están condicionadas por “la migra”, estereotipos de raza y límites de género, viviendo en una “frontera” entre la clandestinidad y el reconocimiento entre una belleza oscura con curvas e imágenes de perfección blancas y andróginas. Key Words: migration, (ethnic, gender and sexual) identity, transgression, frontier Resumen: Temas como migración, fronteras e identidad proliferan en la literatura chicana. Both texts are constructed around ethnic and gender identities, and they both create worlds in which limits are broken and barriers transgressed with a clear Chicana feminist conscience. The Hungry Woman is situated in a symbolic territory where Medea has been banished for being a lesbian.
In Real Women Have Curves the protagonists are conditioned by la migra as much as by race stereotyping and gender limits, living in a metaphoric frontera between clandestine existence and public acknowledgement between curvy, dark-skinned beauty, and white, androgynous images of womanly perfection. MIGRANT IDENTITIES AND GENDER TRANSGRESSION IN CHICANA DRAMATIC LITERATURE *1 Marta Fernández Morales * Abstract: Issues of migration, frontiers and identity are recurrent in Chicano/a literature.
85 ‘ONCE YOU GET THE CARD YOU CAN DO ANYTHING YOU WANT’. Marta Fernández Morales ‘Once you Get the Card you Can Do Anything you.
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