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Journal articles on the topic 'Dogeaters'

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

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1

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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2

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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3

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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4

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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5

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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6

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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Abstract:
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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7

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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Abstract:
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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8

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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9

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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10

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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11

Nubla, Gladys. "The Politics of Relation: Creole Languages in "Dogeaters" and "Rolling the R's"." MELUS 29, no. 1 (2004): 199. http://dx.doi.org/10.2307/4141802.

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12

황정현. "Beyond the “Posts”: Disidentification, Dialectics, and Transnational Subjectivity in Jessica Hagedorn’s Dogeaters." Feminist Studies in English Literature 22, no. 3 (2014): 33–58. http://dx.doi.org/10.15796/fsel.2014.22.3.002.

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13

Dokko, Misun. "The Dirt on Narratives of Resistance in Jessica Hagedorn’s Play Dogeaters." Journal of Narrative Theory 42, no. 3 (2013): 248–82. http://dx.doi.org/10.1353/jnt.2013.0001.

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14

Stephen Hong Sohn. "From Discos to Jungles: Circuitous Queer Patronage and Sex Tourism in Jessica Hagedorn’s Dogeaters." MFS Modern Fiction Studies 56, no. 2 (2010): 317–48. http://dx.doi.org/10.1353/mfs.0.1694.

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15

Werrlein, Debra T. "Legacies of the "Innocent" Frontier: Failed Memory and the Infantilized Filipina Expatriate in Jessica Hagedorn's Dogeaters." Journal of Asian American Studies 7, no. 1 (2004): 27–50. http://dx.doi.org/10.1353/jaas.2005.0008.

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16

Kim, Chang-Hee. "The Biopolitical Effect of Cold War Containment in a Coming-of-Age Narrative: On Postcolonial Subjectivity in Hagedorn's Dogeaters." Journal of Narrative Theory 47, no. 1 (2017): 89–116. http://dx.doi.org/10.1353/jnt.2017.0003.

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17

Sarmiento, Thomas Xavier. "To Return to St. Louis: Reading the Intimacies of the Heartland of U.S. Empire through “The Dogeater”." Amerasia Journal, December 8, 2020, 1–18. http://dx.doi.org/10.1080/00447471.2020.1852701.

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