Julie Avril Minich's Accessible Citizenships. Disability, Nation, and the PDF

By Julie Avril Minich

Accessible Citizenships examines Chicana/o cultural representations that conceptualize political group via pictures of incapacity. operating opposed to the belief that incapacity is a metaphor for social decay or political situation, Julie Avril Minich analyzes literature, movie, and visible artwork post-1980 during which representations of non-normative our bodies paintings to extend our realizing of what it capacity to belong to a political community.
Minich indicates how queer writers like Arturo Islas and Cherríe Moraga have reconceptualized Chicano nationalism via incapacity pictures. She extra addresses how the U.S.-Mexico border and disabled our bodies limit freedom and flow. ultimately, she confronts the altering position of the countryside within the face of neoliberalism as depicted in novels through Ana Castillo and Cecile Pineda. 
Accessible Citizenships illustrates how those works gesture in the direction of much less exclusionary kinds of citizenship and nationalism. Minich boldly argues that the corporeal photos used to depict nationwide belonging have very important outcomes for a way the rights and merits of citizenship are understood and distributed.

A quantity within the American Literatures Initiative

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Extra resources for Accessible Citizenships. Disability, Nation, and the Cultural Politics of Greater Mexico

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To argue, however, that the novel predicates its reformulation of Chicano nationalism on disability and privileges the queer members of the Angel family is not to argue that its principal character, Miguel Chico, is consistently positive about his ethnicity, his disability, or his queer sexuality. Miguel Chico struggles throughout the text with the impact of internalized racism, homophobia, and able-bodied supremacy. At certain points Miguel Chico’s hatred of his body is violently apparent, as in this distressing early passage: Miguel Chico did not care whether or not he survived the operation they planned for him.

In the analysis that follows, I will elaborate how The Rain God and Migrant Souls depart from the project of El Plan, which privileges the able, laboring bodies planting the seeds, watering the fields, and gathering the crops, to propose instead a vision of Aztlán predicated on disability. In this way, the novels exemplify Tobin Siebers’s assertion that “the inclusion of disability changes the definition of the political unconscious in surprising ways” (Disability Aesthetics 58). Expanding the work of Fredric Jameson, Siebers argues that “the political unconscious may also regulate aesthetic forms, excluding those suggestive of broken communities and approving those evocative of ideal ones” (57–58).

Moraga would later call “Queer Aztlán” and accessibility and nationalism / 25 therefore reveal how reconfiguring nationalist representations of the body can redefine Chicano nationalism itself. Chapter Two, “‘My Country Was Not Like That’:’ Cherríe Moraga, Felicia Luna Lemus, and National Failure” examines Cherríe Moraga’s play The Hungry Woman (2001) and Felicia Luna Lemus’s novel Like Son (2007). These texts constitute a “cripping” of Queer Aztlán that provides a more nuanced, accountable nationalism than what is offered in Moraga’s initial elaboration of the concept, suggesting that disability plays a crucial, yet unexamined, role in the theoretical constitution of Queer Aztlán.

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