Relevant bibliographies by topics / Dogeaters

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Dogeaters'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Dogeaters"

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Bacalzo, Dan. "Dogeaters (review)." Theatre Journal 53, no. 4 (2001): 642–43. http://dx.doi.org/10.1353/tj.2001.0097.

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Shah, Nayan. ""Staging Dogeaters"." Journal of Asian American Studies 2, no. 2 (1999): 218–20. http://dx.doi.org/10.1353/jaas.1999.0013.

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Lowe, Lisa. "Memories of Colonial Modernity: Dogeaters." Amerasia Journal 24, no. 3 (1998): 161–64. http://dx.doi.org/10.17953/amer.24.3.b2uv52g07752703g.

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Hagedorn, Jessica. "Dogeaters Scene Ten—1982 Montage." Amerasia Journal 24, no. 3 (1998): 165–68. http://dx.doi.org/10.17953/amer.24.3.u231618485807724.

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Mendoza, V. "A Queer Nomadology of Jessica Hagedorn's Dogeaters." American Literature 77, no. 4 (2005): 815–45. http://dx.doi.org/10.1215/00029831-77-4-815.

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I. Rawashdeh, Faisal, and Malek J. Zuraikat. ""Dainty Predators" and "Carnivorous Families": The Representation of Hunger in Jessica Hagedorn’s Dogeaters." Journal of Social Sciences Research, no. 54 (April 20, 2019): 1053–60. http://dx.doi.org/10.32861/jssr.54.1053.1060.

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The cultural practice of obsessive feasting suggests not only individual attitudes to food but also a collective state of spiritual emptiness. In Jessica Hagedorn’s Dogeaters (1990) most male characters’ hunger for food is never satisfied. Their expressed desire to eat at any given circumstance is often aligned with vocalized or wishful sexual urges. Their female counterparts either eschew food ascetically or demonstrate a corresponding degree of gastronomic crave. In this novel, hunger and its direct association with consumption do not define a festive, harmonious environment. Rather, satisfaction of desires is set against a violent, politically charged background. The discussion below traces the representation of hunger and food consumption in the novel to gain fresh insights into the problematic nature of the neocolonial modes of living in Manila. To this end, we argue that Manila in Hagedorn’s Dogeaters is consumed by a collective insatiability and instability fostered by the hegemony of a capitalistic/postmodern dynamic that continues to define the cultural attitudes and practices of the citizenry in the neocolonial city of Manila.
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Rawashdeh, Faisal I., and Malek J. Zuraikat. ""Dainty Predators" and "Carnivorous Families": The Representation of Hunger in Jessica Hagedorn’s Dogeaters ." Journal of Social Sciences Research, Special Issue 5 (December 15, 2018): 764–71. http://dx.doi.org/10.32861/jssr.spi5.764.771.

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The cultural practice of obsessive feasting suggests not only individual attitudes to food but also a collective state of spiritual emptiness. In Jessica Hagedorn’s Dogeaters (1990) most male characters’ hunger for food is never satisfied. Their expressed desire to eat at any given circumstance is often aligned with vocalized or wishful sexual urges. Their female counterparts either eschew food ascetically or demonstrate a corresponding degree of gastronomic crave. In this novel, hunger and its direct association with consumption do not define a festive, harmonious environment. Rather, satisfaction of desires is set against a violent, politically charged background. The discussion below traces the representation of hunger and food consumption in the novel to gain fresh insights into the problematic nature of the neocolonial modes of living in Manila. To this end, we argue that Manila in Hagedorn’s Dogeaters is consumed by a collective insatiability and instability fostered by the hegemony of a capitalistic/postmodern dynamic that continues to define the cultural attitudes and practices of the citizenry in the neocolonial city of Manila.
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Chang, Juliana. "Masquerade, Hysteria, and Neocolonial Femininity in Jessica Hagedorn's "Dogeaters"." Contemporary Literature 44, no. 4 (2003): 637. http://dx.doi.org/10.2307/3250589.

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De Chavez, Jeremy. "The Traditional and the Modern in Jessica Hagedorn's DOGEATERS." Explicator 75, no. 2 (2017): 84–87. http://dx.doi.org/10.1080/00144940.2017.1312250.

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Choa Choi. "Narrative Form, Unheimlich, and the Queer Subject in Jessica Hagedorn's Dogeaters." Journal of English Cultural Studies 11, no. 1 (2018): 285–313. http://dx.doi.org/10.15732/jecs.11.1.201804.285.

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Dissertations / Theses on the topic "Dogeaters"

1

Luo, Yi-ting, and 羅亦婷. "Cultural Imperialism and Body Politics in Jessica Hagedorn's Dogeaters." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/51750057982973029326.

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碩士<br>國立中興大學<br>外國語文學系<br>92<br>This thesis examines the special cultural, political, and economic conditions in the post-colonial Philippines in the work of Jessica Hagedorn’s Dogeaters. Dogeaters portrays the Filipino society during the Marcos regime. After over a four-hundred-year colonial rule, the colonial legacy still haunts and possesses the Philippines. Moreover, the Philippines are ostensibly subjected to American global hegemony in culture, politics, and economy. Hagedorn concerns with the varied and complex communities inhabiting the postcolonial Philippines. On the one hand, Hagedorn portrays how the middle class and the government live a wealthy life anchored at their American fantasy. Through the portrayal of the president, the First lady, and the henchmen, Hagedorn lays bare the Marcos regime’s involvement with the American hegemony. On the other hand, Hagedorn gives an account of the miserable condition of the low class, varying from the prostitute, shower dancers, the pimp, the caddy, and the saleswomen. The body of the thesis is comprised of three chapters that address the postcolonial Philippines. The first chapter reveals how Hollywood cinematic images in Dogeaters influences the imaginary of the Philippines. In other words, the Hollywood cinematic images are able to mediate, supervise, and determine the Philippines’ conception of self and mother- daughter relations. The second chapter exemplifies the government’s promotion of tourism in Dogeaters which perpetuates the Philippines dependence on the First world country, turns Manila into the erotic paradise for the foreigners, and the Filipinos into the object of the gaze of the foreigners. The third chapter points out the bodily agency of the Filipinos. In face of different disciplinary power, both external and domestic, the bodies of the Philippines are not just passive entity inscribed by the different kinds of power but subjects with alternative agency against the inscription of power.
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Nevárez, Arturo. "Religious hybridity in Jessica Hagedorn's Dogeaters and Ana Castillo's So far from God." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3599.

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This master’s report presents an examination of hybridic religious practices, ritual and iconography as depicted in Jessica Hagedorn's Dogeaters and Ana Castillo's So far from God. In particular, it treats the role of religious hybridity--the imbrication of folkloric, indigenous and secular traditions with orthodox Catholicism--as an important source of cultural, political and social resistance within postcolonial Chicana/o and Filipino communities that are still dealing with, or attempting to escape their colonial pasts.<br>text
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Books on the topic "Dogeaters"

1

Dogeaters. Pantheon Books, 1990.

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2

Hagedorn, Jessica Tarahata. Dogeaters. Penguin Books, 1991.

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Dogeaters: A play about the Philippines. Theatre Communications Group, 2003.

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4

Kercheval, Jesse Lee. The dogeater: Stories. University of Missouri Press, 1987.

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5

Hagedorn, Jessica. Dogeaters. 1990.

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6

Hagedorn, Jessica. Dogeaters: A Novel. Open Road Integrated Media, Inc., 2013.

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7

Dogeaters (Contemporary American Fiction). Penguin (Non-Classics), 1991.

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Hagedorn, Jessica Tarahata. Dogeaters (Contemporary American Fiction). Penguin (Non-Classics), 1991.

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9

Dogeaters, Jessica Hagedorn Interview With Danger and Beauty. Amer Audio Prose Library Inc, 1995.

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10

Caronan, Faye. Revising the Colonialism-as-Romance Metaphor. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039256.003.0003.

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This chapter examines how Esmeralda Santiago's América's Dream and Jessica Hagedorn's Dogeaters represent the rape of Puerto Rico and the Philippines through scattered references to United States bases, commodities, movie stars, and news. Although literary representations of rape in a colonial context often represented only the fear of foreign intrusion and the reality of conquest and colonialism, the chapter argues that Santiago and Hagedorn rewrite this narrative to capture the complexity of neocolonialism in Puerto Rico and the Philippines and to capture how global power has been rearticulated in the neocolonial era. Their novels also challenge the gendered assumption at the heart of this metaphor: women are the property of men.
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Book chapters on the topic "Dogeaters"

1

"Appendix One. Number of Plots in „Dogeaters“." In The Americas of Asian American Literature. Princeton University Press, 1999. http://dx.doi.org/10.1515/9781400823208.147.

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Parikh, Crystal. "“Come Almost Home”." In Writing Human Rights. University of Minnesota Press, 2017. http://dx.doi.org/10.5749/minnesota/9780816697069.003.0003.

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Chapter Two reads the novels A Gesture Life by Chang-rae Lee and Dogeaters by Jessica Hagedorn alongside the Universal Declaration of Human Rights in order to describe the seemingly impossible political subjects that might be granted standing, or the fundamental “right to have rights,” in a transnational human rights imaginary.
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"Appendix Two. Epigraphs and Other Quoted Material in „Dogeaters“." In The Americas of Asian American Literature. Princeton University Press, 1999. http://dx.doi.org/10.1515/9781400823208.148.

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"Chapter Three. Transversing Nationalism, Gender, and Sexuality in Jessica Hagedorn’s „Dogeaters“." In The Americas of Asian American Literature. Princeton University Press, 1999. http://dx.doi.org/10.1515/9781400823208.73.

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Journal articles
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