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Loss and recovery of memory in the poetry of Lorna Dee Cervantes

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Loss and recovery of memory in the poetry of Lorna Dee Cervantes
作者:	Gonzalez, Sonia V.
面頁冊數:	137 p.
附註:	Adviser: Yvonne Yarbro-Bejarano.
附註:	Source: Dissertation Abstracts International, Volume: 65-04, Section: A, page: 1364.
Contained By:	Dissertation Abstracts International65-04A.
標題:	Literature, Modern.
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3128392
ISBN:	0496756540

Loss and recovery of memory in the poetry of Lorna Dee Cervantes
Gonzalez, Sonia V.

Loss and recovery of memory in the poetry of Lorna Dee Cervantes [electronic resource] - 137 p.

Adviser: Yvonne Yarbro-Bejarano.

Thesis (Ph.D.)--Stanford University, 2004.

My analysis is structured in three parts. The first part discusses the life and work of the poet, highlighting her social commitment to her ethnic group and her desire to record her history. Drawing upon grief and loss theories, the second part offers an in-depth close analysis of "Drawings," the first poem in Cables, which functions as a microcosm of Cervantes's recovery project. This poem establishes the central themes and metaphors in place throughout this collection and in Drive that mediate her experiences with a triple loss brought on by divorce, the death of her mother, and the genocide of the Chumash nation she claims as part of her identity. Cervantes introduces here the powerful figure of the ghost to embody the persistence of the cultural memory of the Chumash. Furthermore, she foreshadows her strategy of endurance: surviving loss though creating to fill the void. Employing trauma and memory theories, part three examines the confrontation of other aspects of an erased past that need to be repossessed and narrated---the rape of the poet as a teenager and her mother's horrific murder. The most gripping recurrent images of these memories are the burnt body of her mother and the charred childhood home of the poet. A sense of family discontinuity and historical ellipsis compels the poet to re-member, by narrating her grandmother's oral history. The dissertation concludes with a discussion of Cervantes's counter hegemonic history. I argue that while her project is one of recovery, it also denounces the genocide of the Chumash. I claim that through "poetic drawings," Cervantes composes the fragments of her past and transforms them into a testimony of personal and cultural survival.

ISBN: 0496756540Subjects--Topical Terms:

180518
Literature, Modern.

Loss and recovery of memory in the poetry of Lorna Dee Cervantes
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502 $a Thesis (Ph.D.)--Stanford University, 2004.
520 # $a My analysis is structured in three parts. The first part discusses the life and work of the poet, highlighting her social commitment to her ethnic group and her desire to record her history. Drawing upon grief and loss theories, the second part offers an in-depth close analysis of "Drawings," the first poem in Cables, which functions as a microcosm of Cervantes's recovery project. This poem establishes the central themes and metaphors in place throughout this collection and in Drive that mediate her experiences with a triple loss brought on by divorce, the death of her mother, and the genocide of the Chumash nation she claims as part of her identity. Cervantes introduces here the powerful figure of the ghost to embody the persistence of the cultural memory of the Chumash. Furthermore, she foreshadows her strategy of endurance: surviving loss though creating to fill the void. Employing trauma and memory theories, part three examines the confrontation of other aspects of an erased past that need to be repossessed and narrated---the rape of the poet as a teenager and her mother's horrific murder. The most gripping recurrent images of these memories are the burnt body of her mother and the charred childhood home of the poet. A sense of family discontinuity and historical ellipsis compels the poet to re-member, by narrating her grandmother's oral history. The dissertation concludes with a discussion of Cervantes's counter hegemonic history. I argue that while her project is one of recovery, it also denounces the genocide of the Chumash. I claim that through "poetic drawings," Cervantes composes the fragments of her past and transforms them into a testimony of personal and cultural survival.
520 # $a This dissertation fills a gap in Chicana/o poetry criticism, as the first book-length study that considers the work of Lorna Dee Cervantes (1959-- ) as a thematic unit and a symbolic system. Using an interdisciplinary approach informed by postcolonial, psychoanalytical and cultural nationalist theories, I examine how Cervantes, through her poetic persona, confronts personal and historical losses as manifested particularly in the collections From the Cables of Genocide (1991) and Drive (1998).
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