Nuestros investigadores

Rocío María Davis García

Departamento

Publicaciones científicas más recientes (desde 2010)

Autores: Davis García, Rocío María
Revista: CONCENTRIC LITERARY AND CULTURAL STUDIES
ISSN 1729-6897  Vol. 42  Nº 2  2016  págs. 3 - 8
Autores: Davis García, Rocío María
Revista: BIOGRAPHY: AN INTERDISCIPLINARY QUARTERLY
ISSN 0162-4962  Vol. 38  Nº 1  2015  págs. 87 - 103
Focusing on Ruth Ozeki's A Tale for the Time Being, this essay engages the transits between the fictional and the autobiographical by deploying notions from narratology, including a proposal regarding the difference between 'fiction' and 'the fictive' reflections on metatextual performance, and the idea of the implied author.
Autores: Davis García, Rocío María
Revista: RETHINKING HISTORY
ISSN 1364-2529  Vol. 19  Nº 2  2015  págs. 252 - 267
This essay focuses on a recent Asian diasporic auto/biographical graphic narrative that uses family stories to mediate history: Gia-Bao Tran's (Tran GB. 2010.Vietnamerica: A Family's Journey. New York: Villard). Because of the cultural implications of the Vietnam War, particularly the ways stories about it have been constructed, visualized, inherited, consumed, and challenged in the USA, I argue that a life narrative such asVietnamericaintervenes in the contemporary production of memory and the forms contemporary historical writing might take. Tran very consciously places himself within the narrative and shows how historical events become catalysts for the ways a subject evolves and might be represented, with emphasis on the embodiment of the subject, memory, and, strategically, emotions. He thus multiplies his text's discursive possibilities by requiring readers to read beyond the narrated, toward the embodied ¿ physically and emotively.Vietnamerica, therefore, is not a mere recounting of past events, but a representation and a performance of how events were experienced, how they are remembered and even re-experienced, through emotions, in the present
Autores: Davis García, Rocío María
Revista: LIFE WRITING
ISSN 1448-4528  Vol. 11  Nº 3  2014  págs. 293 - 311
On 23 July 23 1901, a group of 530 schoolteachers (365 men and 165 women) left San Francisco on the USS.Thomas, travelling to Manila on a very specific mission: establish a public school system based on the American model in the United States' new colonial possession. Framed within President McKinley's 1899 pronouncement, after the Spanish-American War of 1989, that `there was nothing left for us to do but to take them all, and to educate the Filipino, and uplift and civilize and Christianize them¿, the American government, rather than rule its new colony primarily through its military presence, chose to educate its subjects, enacting a problematic civilisational strategy that would have lasting effects on Philippine culture and identity. The teachers on that ship are collectively known to history as the `Thomasites¿. Views about the Thomasites have shifted dramatically over the twentieth century¿they have been described as selfless educators committed to uplifting the `little brown brother¿, and censured for their leading role in American imperialism. Most of the scholarship, however, tends to engage the history of the Thomasites from accounts of their work and from the perspective of education theory. My interest lies in Thomasite life writing and what these texts tell us about their views about their role in America's imperial project, in the context of postcolonial critiques against them. By reading some extant examples of teachers' life writing, I consider their evolving personal views on their educational mission and their role in America's colonial project. Specifically, I will examine John D. DeHuff's unpublished autobiography,Memoirs of Orient Seas, to discuss the ways his perspective on America's colonial educational policies were likely shaped by his experience in the Philippines. Crucially, I want to explore whether the time in which the memoirs were written and/or revised informs us about the ways the Thomasites envisioned themselves and their role in the colonial project. In the case of John DeHuff, I argue that there is evidence that his ideas about his participation in the project evolved in important ways, leading him to challenge the United States government's pedagogical policies in the Santa Fe Indian School, where he worked for several years after returning from the Philippines, and rethink his role as a Thomasite
Autores: Davis García, Rocío María
Revista: NARRATIVE WORKS
ISSN 1925-0622  Vol. 4  Nº 2  2014  págs. 48 - 63
Young Adult (YA) dystopian fiction blends the traditional developmental narrative with a heightened concern with issues regarding the individual against society, often in the context of a post-apocalyptic world. In this article, I examine the way Lois Lowry's The Giver (1993) and Lauren Oliver's Delirium (2011) focus on the state's regulation over or removal of their people's emotions and decisions in the context of the representation of future societies. If we consider the place of emotions in YA literature in general, with its interest in adolescents' interaction with their families, each other, their school, or other communities, we can accept the validity of emotions as a prism through which to examine the text's didactic and social purposes. Specifically, by deploying a discourse that emphasizes the dangerous consequences of unbridled emotions in earlier historical times, dystopian texts ask us to think about the political potential of feelings as catalysts for social change
Autores: Davis García, Rocío María
Revista: JOURNAL OF FILM AND VIDEO
ISSN 0742-4671  Vol. 66  Nº 1  2014  págs. 52 - 61
The article presents a film criticism for the 2003 documentary motion picture "My Architect" directed by Nathanial Kahn and the 2010 documentary "My Father, Pablo Escobar" directed by Nicolás Entel. Topics discussed include filial memory and love in these motion pictures for fathers who have been lost, Sebastián Marroquín, the son of Columbia drug lord Pablo Escobar, and the work of G. Thomas Couser
Autores: Davis García, Rocío María
Revista: PROSE STUDIES
ISSN 0144-0357  Vol. 35  Nº 1  2013  págs. 7 - 15
Autores: Davis García, Rocío María
Revista: PROOFTEXTS - JOURNAL OF JEWISH LITERATURE HISTORY
ISSN 0272-9601  Vol. 31  Nº 3  2012  págs. 263 - 286
Autores: Davis García, Rocío María
Revista: ARIEL: A REVIEW OF INTERNATIONAL ENGLISH LITERATURE
ISSN 0004-1327  Vol. 42  Nº 3-4  2011  págs. 143 - 162
Autores: Davis García, Rocío María
Revista: BIOGRAPHY (NEW YORK)
ISSN 1092-7891  Vol. 34  Nº 2  2011  págs. 253 - 276
Using the notion of ¿autographics,¿ this essay examines how Will Eisner, in Life, in Pictures (2007) and Yoshihiro Tatsumi, in A Drifting Life (2009), deploy the graphic form to illustrate the development of graphic art, incorporating the story of their artistic trajectory with a critical look at the development of the medium in their time. The texts become exceptional documents that trace the interconnections among politics, society, art, economy, and idealism in the United States and Japan before and after the Second World War
Autores: Davis García, Rocío María
Libro:  Graphic Subjects: Critical Essays on Autobiography and Graphic Novels
2011  págs. 279 - 281
Autores: Davis García, Rocío María (Editor)
2013 
This book studies the transnational nature of American cultural production, specifically literature, film, and music, examining how these serve as ways of perceiving the United States and American culture. The volume's engagement with the reality of transnationalism focuses on material examples that allow for an exploration of concrete manifestations of this phenomenon and trace its development within and outside the United States. Contributors consider the ways in which artifacts or manifestations of American culture have traveled and what has happened to the texts in the process, inviting readers to examine the nature of the transnational turn by highlighting the cultural products that represent and produce it. Emphasis on literature, film, and music allows for nuanced perspectives on the way a global phenomenon is enacted in American texts within the U.S, also illustrating the commodification of American culture as these texts travel. The volume therefore serves as a coherent examination of the critical and creative repercussions of transnationalism, and, by juxtaposing a discussion of creativity with critical paradigms, unveils how transnationalism has become one of the constitutive modes of cultural production in the 21st century
Autores: Davis García, Rocío María (Editor); Fischer-Hornung, Dorothea (Editor); Kardux, Johanna C. (Editor)
2011 
Autores: Davis García, Rocío María
2011 
Relative Histories focuses on the Asian American memoir that specifically recounts the story of at least three generations of the same family. This form of auto/biography concentrates as much on other members of one¿s family as on oneself, generally collapses the boundaries conventionally established between biography and autobiography, and in many cases¿as Rocío G. Davis proposes for the auto/biographies of ethnic writers¿crosses the frontier into history, promoting collective memory. Davis centers on how Asian American family memoirs expand the limits and function of life writing by reclaiming history and promoting community cohesion. She argues that identity is shaped by not only the stories we have been told, but also the stories we tell, making these narratives important examples of the ways we remember our family¿s past and tell our community¿s story. In the context of auto/biographical writing or filmmaking that explores specific ethnic experiences of diaspora, assimilation, and integration, this work considers two important aspects: These texts re-imagine the past by creating a work that exists both in history and as a historical document, making the creative process a form of re-enactment of the past itself. Each chapter centers on a thematic concern germane to the Asian American experience: the narrative of twentieth-century Asian wars and revolutions, which has become the subtext of a significant number of Asian American family memoirs (Pang-Mei Natasha Chang¿s Bound Feet and Western Dress, May-lee and Winberg Chai¿s The Girl from Purple Mountain, K. Connie Kang¿s Home Was The Land of Morning Calm, Doung Van Mai Elliott¿s The Sacred Willow); family experiences of travel and displacement within Asia in the nineteenth and early twentieth centuries, which unveil a history of multiple diasporas that are often elided after families immigrate to the United States (Helie Lee¿s Still Life With Rice, Jael Silliman¿s Jewish Portraits, Indian Frames, Mira Kamdar¿s Motiba¿s Tattoos); and the development of Chinatowns as family spaces (Maxine Hong Kingston¿s China Men, Lisa See¿s On Gold Mountain, Bruce Edward Hall¿s Tea that Burns). The final chapter analyzes the discursive possibilities of the filmed family memoir ("family portrait documentary"), examining Lise Yasui¿s A Family Gathering, Ruth Ozeki Lounsbury¿s Halving the Bones, and Ann Marie Fleming¿s The Magical Life of Long Tack Sam. Davis concludes the work with a metaliterary engagement with the history of her own Asian diasporic family as she demonstrates the profound interconnection between forms of life writing