Desiring Images: Representation and Spectacle in<i>Dogeaters</i>

Mendible, Myra

doi:10.1080/00111610209602186

Critique: Studies in Contemporary Fiction

2002

DOI: 10.1080/00111610209602186

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Desiring Images: Representation and Spectacle inDogeaters

Myra Mendible

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Cited by 5 publications

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“…Hagedorn's portrayal of ethno-cultural communities and their historical representation has been criticized on the basis that her postmodern narratives, 'although creating a space for repressed or marginalized histories by destabilizing the epistemological bases of power, also [deny] those histories any credibility' as they de-authorize themselves by exposing the indeterminate, relative nature of any cultural or historical knowledge (Mendible, 2002). However, it is my contention that Hagedorn's challenge of master narratives -both American and Filipina/o -and rigid formulations of ethno-cultural identities do not necessarily imply a depiction of all attempts of historical representation and collective identification as equally (in)valid and ultimately meaningless.…”

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confidence: 99%

‘You like to Mix things up on Purpose …? Hoy, what are you trying to Prove?’: Representations of Recent (hi)Stories in Jessica Hagedorn's The Gangster of Love

Echano¹

2007

Feminist Review

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This paper examines how The Gangster of Love (1996), the second novel by Filipino American artist and writer Jessica Hagedorn, dismantles ready-made assumptions about the construction of minority and mainstream cultures. Spanning the period from the 1970s to the early 1990s, Gangster depicts the life of Rocky Rivera, a Filipina American young artist. As it portrays Rocky's family and friends, the novel examines the drastic re-articulation of the US's self-image brought about by Filipino Americans and other groups marginalized as minorities by virtue of their ethnic, socio–cultural, and/or sexual identities. The narrative challenges dominant notions of who and what makes history, juxtaposing historical references with fictionalizations of real episodes and completely fictional incidents, and making a constant use of parody, irony, jokes and clichés. This paper studies Rocky's reworks of her multiple ethnic and sociocultural allegiances in connection with her passion for music and popular culture, placing these reworks in the context of the Philippines’ colonial and neo–colonial background and multi-cultural US history. It also considers succinctly how Gangster's postcolonial dimensions intersect with a feminist and postmodern consciousness in a gendered strategy of socio–cultural resistance and critique.

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confidence: 99%

‘You like to Mix things up on Purpose …? Hoy, what are you trying to Prove?’: Representations of Recent (hi)Stories in Jessica Hagedorn's The Gangster of Love

Echano¹

2007

Feminist Review

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Reading between the “posts”: Systemic violence and the trope of hybridity in the postcolonial novel

Hyland

2013

Journal of Postcolonial Writing

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The late-20th-century convergence of post-structural, postmodern and postcolonial theories has engendered a critical discourse network that privileges hybridity. These accounts contend that it (re)inscribes the agency of minority subjects, destabilizing hegemonic discourses, but, paradoxically, hybridity has become a stabilizing trope foras well as the dominant way to read -the postcolonial novel. This essay discusses three postcolonial novels that "disidentify" with this master narrative of postcolonialism: Maryse Condé's Heremakhonon, Jessica Hagedorn's Dogeaters and Shani Mootoo's Cereus Blooms at Night. When reread as performances enacted between the "posts", these novels suggest that hybridity can expose the systemic violence of colonial rationality.

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Legacies of the "Innocent" Frontier: Failed Memory and the Infantilized Filipina Expatriate in Jessica Hagedorn's Dogeaters

Werrlein¹

2004

jaas

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This article focuses on the ways that Jessica Hagedorn uses the trope of childhood innocence to appropriate President William McKinley's infantilizing rhetoric of colonialism. Through her expatriate narrator's nostalgia for an innocent Philippines populated by childlike characters, Hagedorn cedes authentic history to the corrosive powers of assimilationism and consumerism. Along with the possibilities for a knowable history, however, Dogeaters also forsakes the comforts innocent "memories." The novel ends by accepting multiple stories of history's loss instead.

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Desiring Images: Representation and Spectacle inDogeaters

Cited by 5 publications

References 3 publications

‘You like to Mix things up on Purpose …? Hoy, what are you trying to Prove?’: Representations of Recent (hi)Stories in Jessica Hagedorn's The Gangster of Love

‘You like to Mix things up on Purpose …? Hoy, what are you trying to Prove?’: Representations of Recent (hi)Stories in Jessica Hagedorn's The Gangster of Love

Reading between the “posts”: Systemic violence and the trope of hybridity in the postcolonial novel

Legacies of the "Innocent" Frontier: Failed Memory and the Infantilized Filipina Expatriate in Jessica Hagedorn's Dogeaters

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