Quintana (1996), in the first chapter of her book Home Girls, describes Rosa Linda Fregoso’s analysis on Chicanas/os inherited history as “a Mexican history of colonialism and imperialism that subjects them to conquest, marginalization and domination within their native territories” (FREGOSO apud QUINTANA, 1996, p. Scholar Cármen CÁLIZ-MONTORO (2001) describes the borderlands as a representative space of the multiple and dynamic Chicano experiences with very different worlds such as Euroamerican, Mexican, barrio, indigenous, amongst others (MONTORO, 2000, p. Palavras-chave: literatura chicana, sexualidade chicana, desejo lésbico. Escritos de Gloria Anzaldúa, Cherrie Moraga, Carla Trujillo, Emma Pérez e outras críticas Chicanas feministas auxiliam a pesquisa. Ambos os romances possibilitam discussões sobre o desenvolvimento e a exploração sexual e também sobre a influência, julgamento e punição da comunidade com relação à sexualidade da mulher. Aqui a sexualidade da mulher e o desejo lésbico se entrelaçam. Suas narradoras transgressoras são de diferentes idades e processos de maturidade, porém iniciam ambos os romances como jovens Chicanas buscando explorar sua sexualidade e desvendar seus desejos proibidos enquanto se conscientizam do sistema patriarcal e machista no qual estão inseridas. Na presente pesquisa, pretendo investigar como as estratégias narrativas e as referências culturais trazem à superfície emoções e experiências que formam a subjetividade e o desejo sexual em What Night Brings (2003) de Carla Trujillo e Gulf Dreams (1996) de Emma Pérez. A Chicana lésbica, como forma de sobrevivência e motivada por impulsos sexuais, batalha para superar o papel social passivo que a repressão atribui a ela e recusa-se a aceitar o sistema heteronormativo. Gloria Anzaldúa alega em Borderlands/La Frontera (1999) que “ela depara-se contra duas proibições morais: sexualidade e homossexualidade”. Resumo: Questões de gênero e sexualidade vêm sendo tratadas como tabu em sociedades tradicionais e conservadoras. Keywords: Chicana literature, Chicana sexuality, Lesbian Desire. Writings of Gloria Anzaldúa, Cherrie Moraga, Carla Trujillo, Emma Pérez and other feminist Chicana critics aid this analysis. The chosen novels enable a debate on women’s sexual development and exploration and society’s influence, judgement and punishment on female sexuality. Here female sexuality and lesbian desire intertwine. Such transgressive narrators are of different ages and thus undergoing different maturity processes, but they begin both novels as young Chicana women attempting to explore their sexuality and uncover their own prohibited desires while becoming aware of the patriarchal and machista system in which they are inscribed. In the present paper, I investigate how the narrative strategies and cultural references bring to surface the emotions and experiences that form subjectivity and sexual desire in Emma Pérez’s Gulf Dreams (1996) and Carla Trujillo’s What Night Brings (2003). The Chicana lesbian, as a matter of survival and motivated by sexual impulses, struggles to surpass the passive role repression assigns to her and refuses to accept the heteronormative rule. Gloria Anzaldúa claims in Borderlands/La Frontera (1999) that “she goes against two moral prohibitions: sexuality and homosexuality. Goodson stayed on as the voice but Perez was cast for the new footage used for Rita with a age potion explaining the thirty year difference in age between Machiko and Carla.Abstract: Questions of gender and sexuality have oftentimes been portrayed as taboo in traditionalist conservative societies. " However, she was passed over because the costume was extremely heavy for her short stature (she is five foot exactly) and she was noticeably smaller than Soga which would lead to a bizarre inexplicable difference.
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