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Josefina Niggli (1910–1983; birth name was Josephine) was a Mexican-born Anglo-American playwright and novelist. Writing about Mexican-American issues in the middle years of the century, before the rise of the Chicano movement, she was the first and, for a time, the only Mexican American writing in English on Mexican themes; her egalitarian views of gender, race and ethnicity were progressive for their time and helped lay the groundwork for such later Chicana feminists as Gloria Anzaldúa, Ana Castillo and Sandra Cisneros.〔Fuentes, Yvette. (Review ) of Elizabeth Coonrod Martínez, ''Josefina Niggli, Mexican-American Writer: A Critical Biography'' in ''Quadrivium: A Journal of Multidisciplinary Scholarship'' vol.2, accessed 17 July 2010.〕 Niggli is now recognized as "a literary voice from the middle ground between Mexican and Anglo heritage."〔("Josefina Niggli" ) at PBS.org, accessed 17 July 2010.〕 Critic Elizabeth Coonrod Martinez has written that Niggli should be considered on a par such widely praised Spanish-language contemporaries as Mariano Azuela, Martín Luis Guzmán and Nellie Campobello.〔 She is thought to be the only Mexican-American woman to have a theatre named after her.〔William E. Orchard, Yolanda Padilla, "Introduction" to ''The Plays of Josefina Niggli: Recovered Landmarks of Latino Literature'', University of Wisconsin Press, 2007, pp.3–4.〕 ==Biography== Niggli was born on July 13, 1910 in Monterrey, Nuevo León, into an expatriated Euro-American family from the U.S.〔 (her father, of Swiss-Alsatian descent, was from Texas, and her mother, who was Irish-French-German, from Virginia).〔〔Joseph Henry Dvorkin, ("Josephina Niggli" ) at ''Voices from the Gaps'', University of Minnesota, accessed 17 July 2010〕 Because of the Mexican Revolution, she was sent out of Mexico in 1913, and spent much of her youth between Monterrey and San Antonio, Texas.〔("Josefina María Niggli" ) at ''The Handbook of Texas Online'', accessed 17 July 2010.〕 As a teenager in San Antonio, and in spite of being an Anglo, she felt that she didn't belong and wished to be back in Monterrey; these feelings formed the basis of her first book of poetry, ''Mexican Silhouettes'', published in 1928 with the help of her father.〔〔 As a student at Incarnate Word College, Niggli was prompted by her teachers to become a writer, leading to awards from ''Ladies' Home Journal'' and the National Catholic College Poetry Award.〔 Niggli became active as a writer and producer for San Antonio's KTSA radio station and studied play writing at the San Antonio Little Theatre, eventually joining the Carolina Playmakers at University of North Carolina at Chapel Hill, where she earned her M.A. During this time, she continued to write about Mexican folklore〔("Josefina Niggli: Novelist, playwright and the reconquestadora who made Ricardo Montalban dance" ), 2 December 2007, accessed 17 July 2010.〕 and history, such as her play ''Soldadera'', which depicted women soldiers (''soldaderas'') in the Mexican Revolution, particularly the tradition of La Adelita.〔 After a brief stint on the faculty at UNC Chapel Hill, she moved to Mexico to work for playwright Rodolfo Usigli at the Universidad Autónoma de Mexico. In 1945, she published a collection of her plays, ''Mexican Folk Plays'', with a preface by Usigli.〔 That same year, Niggli also published her first novel-in-stories, ''Mexican Village'', about a Mexican-born American (like Niggli, but male) who must confront problems with both American and Mexican cultures when he returns to Mexico.〔 She followed this in 1947 with ''Step Down, Elder Brother'', the Spanish translation of which "cemented Niggli´s reputation as a giant of Mexican literature within the Latin American literary world."〔 These novels, written in English, were meant to help her U.S. audience better understand both Mexico〔 and the experiences of Mexican Americans; as such, she has been described by such critics as Gloria Anzaldúa as displaying a "border consciousness," that is, a confusion of identity brought on by the process of Americanization.〔 When ''Mexican Village'' was picked up by Hollywood to be made into a movie (''Sombrero'', starring Ricardo Montalban, Pier Angeli and Cyd Charisse),〔 Niggli moved to Hollywood and became a "stable writer" for Twentieth-Century Fox and MGM studios, working anonymously on such films as ''Seven Brides for Seven Brothers''〔 and ''The Mark of Zorro''.〔 The adaptation of ''Mexican Village'' involved quite a change in genre, being turned into a musical.〔 Niggli left Hollywood to teach English and drama at Western Carolina University, where she worked from 1956 to 1975, helping to found the Theatre Department;〔("Student Portrait Commission" ) announcement for the WCU Josefina Niggli Celebration (2009), accessed 17 July 2010〕 the University now houses a collection of her writings〔("Josefina Niggli" ) at Western Carolina University, accessed 17 July 2010.〕 and a theater in her name.〔("Arts & Entertainment Venues" ) at Western Carolina University, accessed 17 July 2010.〕 In 2009, the University sponsored a yearlong, campus-wide theme in her honor: "Josefina Niggli: A Celebration of Culture, Art, and Life".〔("Josefina Niggli: A Celebration of Culture, Art, and Life" Announcement page ), accessed 17 July 2010.〕 While in North Carolina, she continued to write not only novels—her final novel, ''A Miracle for Mexico'', was published in 1964〔—but also radio and television shows, including ''The Twilight Zone'' and ''Have Gun—Will Travel''.〔 Niggli died on 17 December 1983 in Cullowhee, North Carolina. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Josefina Niggli」の詳細全文を読む スポンサード リンク
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