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focussed on identity in contemporary British and French women's writing, was a finalist in the Best PhD Awards Lithuania in 2011. It was published in Lithuanian as Svetimos ir Savos (Strange and Familiar Selves) in 2012. Her current research examines what it means to mother in a culturally and linguistically foreign environment through literary narratives of mothering in migration in transnational women's writing. Mothering Across Languages and Cultures in Ying Chen's Letters to her Children Due to intensifying global mobility, increasing numbers of women find themselves mothering in countries that are linguistically and culturally foreign to them, dealing with issues related to multilingualism, shifting identities, and to belonging. The essays La lenteur des montagnes (The Slowness of the Mountains, 2014) and 'Lettre d'Umbertide' (Letter from Umbertide, 2004) by the Chinese born Canadian author Ying Chen provides a brilliant example. Using recent research on contemporary Asian women's writing in diaspora, notions of écriture migrante as well as nomadic consciousness as a framework, this article will explore how Chen's essay envisions what it means and what it feels like to be a mother of Chinese origin in contemporary Canada. In the process, this article will also contribute to a wider understanding of the condition of migrant mothering and touch upon critical debates around literatures of mobility. 1
focussed on identity in contemporary British and French women's writing, was a finalist in the Best PhD Awards Lithuania in 2011. It was published in Lithuanian as Svetimos ir Savos (Strange and Familiar Selves) in 2012. Her current research examines what it means to mother in a culturally and linguistically foreign environment through literary narratives of mothering in migration in transnational women's writing. Mothering Across Languages and Cultures in Ying Chen's Letters to her Children Due to intensifying global mobility, increasing numbers of women find themselves mothering in countries that are linguistically and culturally foreign to them, dealing with issues related to multilingualism, shifting identities, and to belonging. The essays La lenteur des montagnes (The Slowness of the Mountains, 2014) and 'Lettre d'Umbertide' (Letter from Umbertide, 2004) by the Chinese born Canadian author Ying Chen provides a brilliant example. Using recent research on contemporary Asian women's writing in diaspora, notions of écriture migrante as well as nomadic consciousness as a framework, this article will explore how Chen's essay envisions what it means and what it feels like to be a mother of Chinese origin in contemporary Canada. In the process, this article will also contribute to a wider understanding of the condition of migrant mothering and touch upon critical debates around literatures of mobility. 1
The last novel of what has been termed Ying Chen's "série fantôme," La rive est loin (2013), draws us further into a posthuman existence that has been consistently gestured towards since the publication of Immobile (1998) and concludes with a reconfiguration of space, place, and subjectivity that is inextricably intertwined with nature. This article proposes a metaphorical reading of the husband's brain tumor and the disintegration of the house inhabited by Chen's recurring couple as the gradual deconstruction of a monolithic human order in favor of a deeper eco-philosophical way of being in the world that is squarely aligned with Rosi Braidotti's theory of the posthuman.Le dernier roman de ce que l'on désigne "la série fantôme" de Ying Chen, La rive est loin (2013), nous invite à explorer la possibilité d'une existence posthumaine qui est, en effet, présente chez Chen dès la publication d'Immobile (1998). La rive est loin se termine avec une totale reconfiguration de l'espace et du sujet en mode de vie inextricablement lié à la nature. Cet article propose une lecture métaphorique de la maladie du mari et de la chute de la maison du couple comme symboles de la déconstruction de la toute-puissante loi humaine. À la place de cette loi humaine, Chen substitue un moyen d'être éco-poétique qui s'aligne de près avec la théorie posthumaine de Rosi Braidotti.
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