Gloria Anzaldua

This critical essay describes and demonstrates the uses and unique contributions of performative writing as a form of inquiry into the materialities and mobilities of sociocultural communicative phenom- ena. Embracing an Anzaldu an approach, the author utilizes Mesoamerican Aztec and Chicanx history, iconography, and mythos to argue for an ontological reimaging of where research should begin and end. As a methodological intervention, this article chal- lenges traditional impulses regarding where knowledge generation occurs, which knowledges are valid, and who counts as a valuable knowledge producer. By shifting genres, breaking grammatical rules, and creatively constructing poetics and rhythm (flor y canto), this “flight of the imagination” focuses on what Chicana, Latina, and indi- genous scholars have termed “fleshing the spirit” or “spiriting the flesh.” By embracing the soul work and spirituality of writing, this piece offers an art-based approach to methodological inquiry that functions as a sharp critique of the White capitalist cisheteropatriar- chal structure of higher education that maintains status quo under- standings of knowledge. When rerouting our methodological impulses toward a critical and decolonial telos and embracing the soul and spirit of performative writing, I argue that our first move must be to make an ontological shift in how we see the world and our place in it—we must begin and end with “theories in the flesh.”

Iris Ruiz is a Lecturer in the Merritt Writing Program at UC, Merced, which is located in the heart of the Central Valley and is a designated Hispanic Serving Institution. She teaches courses in advanced composition, journal editing, first and second year composition and Chicanx Studies. She recently published Reclaiming Composition for Chicano/as and other Ethnic Minorities: A Critical History and Pedagogy and an edited collection, Decolonizing Rhetoric and Composition Studies: New Latinx Keywords for Theory and Pedagogy, which Raúl Sánchez and she are co-editing and includes many CCCC Latinx Caucus gente. Iris has been a member of the NCTE/CCCC Latinx Caucus since 2000, contributing to Writing and Working for Change projects, Reflections, the formation of the People Of Color caucus for the WPA, and she is currently working on a statement for the Caucus to consider in support of Ethnic Studies nationwide to be release soon by NCTE. She has recently been elected to the position of Co-Chair for the NCTE/CCCC Latinx Caucus. Her indigenous roots stem from her great-grandmother, Angelita Treviño, who is pure-blooded indigenous. Iris has gleaned much of what she knows about Curanderismo, indigenous spirituality, and natural healing practices from Angelita's memory. She hopes to continue to " Indigenize " Western epistemology as the world continues to go through a decolonial paradigm shift that has no due date, but that is currently in process.

Published in NICHE [Network in Canadian History & Environment | Nouvelle initiative Canadienne en histoire de l'environnement]. 23 June 2022
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https://niche-canada.org/2022/06/23/teaching-wild-things-in-texas/
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This is the ninth post in NICHE's series called "Succession II: Queering the Environment"; a fourteen-part series in which contributors explore topics related to unruliness, care, and pleasure. Succession II centers queer people, non-humans, systems, and ideas and explores their impact within the fields of environmental history, environmental humanities, and queer ecology.

La lingua che ospita, in questa nuova edizione, pluralizza le coordinate-guida della riflessione indicate nel sottotitolo (Poetiche, politiche, traduzioni), ponendosi come strumento di interrogazione della mobilità transfrontaliera. Deterritorializzazione, contaminazione, creolità, de-colonizzazione, traduzione, trasformazione sono i territori costitutivi di questa narrativa, nella consapevolezza che i punti nodali toccati nella prima edizione – la diaspora, il border crossing, le transculturazioni, le lingue perdute e le lingue nuove/impure, la subalternità e la resistenza, la creatività, l’attivismo socio-culturale e la border art transatlantica – sono ancora essenziali per l’esplorazione delle pratiche neo-coloniali che inducono l’attuale mobilità lungo rotte mediterranee. La proposta teorico-critico-performativa di questa indagine è la smobilitazione delle demarcazioni dei confini geo-politici ed artistici con pratiche di border critical thinking. Il concetto occidentale di mappa è smontato per delineare le geo-corpo-grafie della creatività artistica e della mobilità senza frontiere che decolonizzano la normatività critica, gli steccati disciplinari e la geopolitica del respingimento lungo le frontiere di qualsivoglia mappa-mondo.

This paper proposes a new way to read José Martí’s idea of “Nuestra América”, one that focus on the mode of the call for unity toward liberation and decoloniality. In particular, I offer the arguments for this Latin American unity that would define a collective form of resistance against our colonial past and present (Europe) and an imperialist future (USA). It can be argued that it is extremely difficult to translate the Cuban author’s thought by itself to our contemporary struggles, and that this notion runs the risk of being an outdated, naïve, and even detrimental reduction of a too complex racial reality. In my paper, I defend a way in which this notion is still relevant today by alluding to the mode of a decolonial return to one's own land in the works of of Édouard Glissant’s and Gloria Anzaldúa. In these two authors I see elements of the criticism of a colonial rootedness and filiation, linking a decolonial attitude toward the land with a particular way of  returning to it: one that challenges a mythical, pure territorial space, and also reimagines the temporality of the return by focusing on the present. With the help of this novel gesture of returning to the land, I argue that Martí's nuestra América voices a call for unity and independence that still has value beyond its undeniable shortcomings.

This paper examines the relationship between the aesthetic frameworks of José Vasconcelos and Gloria Anzaldúa. Contemporary readers of Anzaldúa have described her work as developing an “aesthetics of the shadow,” wherein the Aztec conception of Nepantilism—i.e. to be “torn between ways”—provides a potential avenue to transform traditional associations between darkness and evil, and lightness and good. On this reading, Anzaldúa offers a revaluation of darkness and shadows to build strategies for resistance and coalitional politics for communities of color in the U.S. To those familiar with the work of Vasconcelos, Anzaldúa’s aesthetics appears to contrast sharply with his conceptions of aesthetic monism and mestizaje. I propose, however, that if we read both authors as supplementing one another’s work, we can see that their theoretical points of contrast and similarity help frame contemporary philosophical discussions of racial perception.

Proceedings of the Third Annual Meeting of the Social Theory Forum (STF), held on April 5-6, 2006, at UMass Boston on: “Human Rights, Borderlands, and the Poetics of Applied Social Theory: Engaging with Gloria Anzaldúa in Self and Global Transformations.” Walking along and crossing the borderlands of academic disciplines, contributors engaged with Anzaldúa’s gripping and creative talent in bridging the boundaries of academia and everyday life, self and global/world-historical reflexivity, sociology and psychology, social science and the arts and the humanities, spirituality and secularism, private and public, consciousness and the subconscious, theory and practice, knowledge, feeling, and the sensual in favor of humanizing self and global outcomes. Central in this dialogue was the exploration of human rights in personal and institutional terrains and their intersections with human borderlands, seeking creative and applied theoretical and curricular innovations to advance human rights pedagogy and practice. Keynote contributions by: Winston Langley, AnaLouise Keating, Gloria González-Lopéz, Lilia I. Bartolomé, and Cynthia Enloe. Contributors include: Sarah Taylor Crockett, Amanda Bock, Caroline Hardy-Fanta, Amanda Witbeck, Tereza Kynclová, Paola Zaccaria, Panayota Gounari, Glenn Jacobs, Jorge Capetillo-Ponce, Haroldo Fontaine, Ruth Nicole Brown, Estelle Disch, Pamela Irving Jackson, Roderick Parkes, Kavitha Koshy, Steve Martinot, Linda Dittmar, Miguel Malagreca, Kevin Allred, Gabriela Sandoval, Sharon Kim, Michelle Corbin, Karen M. Gagne, Rajini Srikanth, Elora Halim Chowdhury, C. Heike Schotten, Daniella Boucher, Chris Bobel, Tim Sieber, Karen L. Suyemoto, Shirley Tang, Anna Torke, Joaquin Alejandro Newman, and Mohammad H. Tamdgidi (also as journal editor-in-chief). Human Architecture: Journal of the Sociology of Self-Knowledge is a publication of OKCIR: The Omar Khayyam Center for Integrative Research in Utopia, Mysticism, and Science (Utopystics).

Teorie przekładu i w ogóle samo pojęcie przekładu są oczywiście przede wszystkim związane z językoznawstwem. Próba wydobycia ich poza ten obszar szczęśliwie znajduje wsparcie w tekście Waltera Benjamina Zadanie tłumacza, który – będąc jednym z najpiękniejszych utworów, jakie na ten temat napisano – jest też zapowiedzią interdyscyplinarnego charakteru późniejszych badań w tej dziedzinie, prowadzonych przez George'a Steinera, Lawrence’a Venutiego czy Gayatri Spivak. W moim tekście chciałabym zająć się feministycznymi teoriami przekładu, w tym
szczególnie koncepcjami Gayatri Spivak, Judith Butler oraz przedstawicielek nurtu Chicana Feminism – Glorii Anzaldúi i Normy Alarcón. Zamierzam pokazać, jak kryjące się w nich nadzieje i zastrzeżenia sprzyjają budowaniu takiego wyobrażenia o wspólnocie czy uniwersalizmie, którego brakowało w nowoczesności skupionej – jak dowodzili choćby Theodor Adorno czy Zygmunt Bauman – na dominacji racjonalności i wypieraniu tego, co mityczne.

In this chapter of the upcoming (March 2019) Critical Approaches for Critical Educators: Engaging with Multicultural Young Adult Literature in the Secondary Classroom, edited by Ricki Ginsberg & Wendy Glenn, the author theorizes an "alloy identity theory," rendering multicultural/multiethnic/multiracial identities as stronger than the sum of their parts.  Applying the theory to the young adult novel Little & Lion, she suggests teaching methods that engage adolescent readers in developing an alloy lens.

This article witnesses a field trip of a group of English learners and the instructor at a historical site in the United States of America. The purpose of this trip explores a question, What does “social justice” look like in the United States? Drawing from the nepantlerx concept, the author describes a conversation between the students and the teacher
on a field trip and discusses how the field trip has changed their students and the teacher as a result of it.

This autohistoria, or “a personal essay that theorizes”  (Anzaldúa & Keating, 2002, p. 578), is a special piece to me. It is spiritual, poetic, political, and dialogic. This essay thus delves deeper into the mourning, the fear, the tears, the pain, the loneliness, the strength of a Vietnamese queer immigrant in a state of Nepantla in order to relate with other queers of color in the dark, i.e.: in suicidal process. “Living in Nepantla, the overlapping space between different perceptions and belief systems, you are aware of the changeability of racial, gender, sexual, and other categories rendering the conventional labelling obsolete” (Anzaldúa & Keating, 2002, p. 541). In this space, I attempt to use the concept of Nepantla to describe and understand stages of pre- and post- suicide attempt that I experienced. Then, I will conclude with a call for policy change to ask for attention to those who live in the life-death margins and in between and among worlds as mine.

Nepantla: An Anthology Dedicated to Queer Poets of Color is coming out from Nightboat Books on May 1, 2018, though I originally began editing this project about four years ago with Lambda Literary, as an online journal. The anthology covers 100 years of queer of color history, since the Harlem Renaissance. To celebrate the launch of this historic project, VIDA has provided the space for several of the queer women of color in the anthology to write odes for the other queer women of color who also appear in the anthology but are deceased. Below is an intergenerational literary dialogue, from one generation to the next, from the living poets to those who have passed. I hope you enjoy these conversations, these love letters, letters of appreciation, across time and space. — Christopher Soto

The Chicana/o Literature is the literature written by the Mexican American writers, and encompass the themes of identity, discrimination, culture, trauma and affiliation with past. It can also be considered as the literature of resistance as the writers attempt at providing their own narrative against the dominant white narrative. As a result literature of the marginalized community can be acknowledged as important as it enables the reader as well as writer to revisit and re-question the dominant narratives, historiography and present political and power dynamics. This paper will discuss the dominant elements of Chicano literature in a comparative study of a few poems by Javier Zamora from his collection of poetry Unaccompanied and Anzaldua’s book Borderlands.

Resumen

Borderlands/La Frontera, de Gloria Anzaldúa, es un texto que obliga a repensar el género autobiográfico y las concepciones tradicionales de sujeto, historia y escritura. En él, Anzaldúa no promueve la concepción del ser humano como sujeto individual, esencial y puro; por el contrario, propone un sujeto interdependiente, híbrido, en proceso. Este texto no sólo pretende negociar la identidad latina en el Estados Unidos de hoy; sino que a la vez, desafia la identidad latinoamericana de la que parte; desborda las fronteras geográficas y de lengua, que se supone la contienen; pluraliza el término de identidad latina al hacer evidente que hay otras.

This collaborative essay takes seriously the theoretical urgings and interventions of José Esteban Muñoz and Gloria E. Anzaldúa to assist us in reimaging the University structure as a decolonial feminist site of possibility.  The legacy of student rebellion on university campuses is not a new occurrence—this essay, however, marks a notable instance in time when healing, storytelling, and rejuvenation emerged as the central goals to address the fatigue and disruption of anger or coraje. Instead of using anger to protest, which is a necessary yet exhausting form of activism, student activists enacted a utopian future by creating a decolonized present where the multiplicity of their voices, experiences, and wounds could be seen, heard, and honored.  As Black lesbian feminist visionary Audre Lorde reminds us, “anger expressed and translated into action in the service of our vision and our future is a liberating and strengthening act of clarification.”    Lorde theorizes, “[a]nger is loaded with information and energy,” she guides us to find creative ways to express and release the intergenerational trauma that provoked by the university and its structures of power that are intertwined with forms of white supremacy and settler colonial logics.

This essay explores colorism, or the ranking of individuals based on skin color or racialized phenotype, with a focus on women of Mexican descent. I offer a history of skin color consciousness, linking it to Spanish and Anglo American colonial beliefs about the value of women as reproductive objects and to contemporary articulations of lived experiences with colorism. First, I trace colorism historically, considering how discourses of difference built on sixteenth-century notions of gendered contamination and nineteenth-century notions of purity and prestige were used to construct and privilege whiteness. Next, I draw from interviews with four women who self-identify as Mexican-descent to document how personal experiences with colorism are remembered and understood. These narratives reveal the importance of the family as an institution within which a collective memory of historical white supremacy is continuously performed through colorism. The recognition that colorism is both reproduced and resisted through intimate familial relations opens a space to ask questions about the relationships between contemporary experience and histories of colonization and suggests, finally, that the family is a critical site for decolonial healing.

This paper presents a nepantlan pedagogy that would simultaneously deconstruct and construct our societal discourses while complicating teachers’ and students’ understandings of the world. This idea emerged from my experience as an elementary educator, working in linguistically, culturally, and economically diverse schools, along with my endeavor to earn a doctorate degree in education. It is heavily informed by the work of Gloria Anzaldúa’s theory of nepantla and Mikhail Bakhtin’s ideological becoming.  I illustrate their respective ideas with biographies of the theorists and genealogies of their work to show how their ideas are similar albeit from radically different contexts. I further illustrate their ideas through my personal classroom pedagogies that called for mastery, absolute knowing, and perfection, and how I attempted a nepantla pedagogy that stood contradictory to this.
 

In this piece I attempt to address the ways in which Gloria Anzaldúa, in Borderlands: La Frontera (2007), negotiates the idea of the border as having both discursive and material dimensions. In creating a new mestiza consciousness from the borderland, which is the space that is affected by the borderline, Anzaldúa develops concepts and ideas that can be linked to Donna Haraway’s articulation of the cyborg and to Karen Barad’s theory of an agential realist ontology in the sense that Anzaldúa engages creatively with contradicting parts of her identity in a cyborgian fashion, and sees the enactment of borders as both limiting and empowering, as having emotional and material effects. Anzaldúa then addresses these effects and demonstrates how she applies them in the fabrication of a new consciousness, the consciousness of the new mestiza. In this work, therefore, I explore how the border makes itself physically present in Anzaldúa’s Borderlands and how the discursive meets matter; and I do this by finding common threads and possible connections among the works of Anzaldúa, Haraway, and Barad.

Em 2017 e 2018, houve duas formações semanais à distância intituladas "Pensamento Lésbico Contemporâneo". Cada curso propôs estudar 25 autoras lésbicas de diferentes partes do mundo. Nesta apresentação, analisaremos a recepção de Gloria Anzaldúa na práxis acadêmica e ativista lésbica a partir das publicações das alunas no fórum de discussão da autora no ambiente de aprendizagem. Como cada uma através de interpretações individuais e debates coletivos, nos levaram a acreditar que Anzaldúa é considerada um pioneira da "interseccionalidade", uma vez que a consciência mestiça surgiu? Por que Anzaldúa é vista como um campo de possibilidades que, ao propor a mistura de linguagens e formas literárias, rompe com os paradigmas dominantes e forja uma nova maneira de pensar? Estas são as questões que discutiremos. Résumé: En 2017 et 2018, il y a eu deux formations à distance hebdomadaires intitulées "Pensée Lesbienne Contemporaine". Chaque cours proposait d'étudier 25 auteures lesbiennes de différentes régions du monde. Dans cette présentation, nous analyserons la réception de Gloria Anzaldúa dans la praxis académique et militante lesbienne à partir des posts des étudiant.e.s dans le forum de discussion sur l'auteure prévu dans l'environnement d'apprentissage. Comment chacun.e. par le biais d'interprétations individuelles et de débats collectifs a pris position, nous amenant à penser qu'Anzaldúa est considérée comme un pionnière de "l'intersectionnalité", une fois que la conscience métisse est apparue? Pourquoi Anzaldúa est-elle vue comme un champ de possibilités qui, en proposant le mélange de langues et des formes littéraires, rompt avec les paradigmes dominants et forge une nouvelle façon de penser? Telles sont les questions que nous aborderons. Introdução Em ocasião do Colloque International "Gloria Anzaldúa: traduire les frontières" (Paris, Mai 2018), em homenagem ao 30ème anniversaire de la publication de Borderlands et sa traduction imminente en français, apresentamos o resultado de nossa análise de um fórum em um Ambiente Virtual de Aprendizagem (Moodle) em que cerca de uma centena de cursistas lésbicas estudaram o pensamento da autora. Tratou-se do curso Pensamento Lésbico Contemporâneo, oferecido na modalidade à distância pela Universidade Federal da Bahia (UFBA) nos anos de 2017 e 2018 para acadêmicas, ativistas e interessadas no tema de todo o território brasileiro. Chaque cours proposait d'étudier 25 auteures lesbiennes de différentes

The above mentioned two writers are different from each other on the basis of their locations in Mexico i.e. Octavio Paz belongs to the center of city and Gloria Anzaldúa lived her life as migrant on border. First one is a diplomat, writer and poet and on other hand, Anzaldúa considers herself a ‘pure writer’. However, in spite of these differences, both of these writers share a common characteristic and that is, both have tried to recreate the identity of Mexicans living in USA (as illegal o legal migrants). It was done differently by both of these writers by going through the same history of Mexico but with different interpretations in their writings which seem very contradictory. So, keeping these contradictions in mind, my paper will focus on the problems which arose in creating identity of Mexicans living in USA. In this context, the paper trys to highlight how Octavio Paz being a male writer experiences shame in the identity which was derived from the mythological character Malinche whom he considers madre Chingada (raped mother) and a betrayer. By giving these reasons he brands all Mexicans as hijos de puta (sons of raped women) or los Pachuco s and asks them to learn modernity and civilize themselves in order to include themselves in the crowd of civilized people of USA. The paper will also highlight the contrary view of Gloria Anzaldúa who finds these so called names as strength of her country and not as a shame. For supporting Gloria Anzaldúa view in this paper, i have discussed the oppositional theory and the views of some famous Border writers. One among these is Gaspar de Alba who believes that “Malinchismo is redefined not as the act of a betrayer but as the reaction of one who has been betrayed” by her own people.

Sommaire:
Majeure 29. Narrations postcoloniales
- Antonella Corsani, Christophe Degoutin, François Matheron, Giovanna Zapperi: Narrations postcoloniales
- Fatimah Tobing Rony: Le Troisième oeil
- Nirmal Puwar: Architectures de la mémoire Image, son et pierre
- Romaine Moreton: Quand la parole libère (de) l écrit, et l écrit (de) la parole
- Gloria Anzaldùa: Movimientos de rebeldía y las culturas que traicionan
- Alessandra Gribaldo et Giovanna Zapperi: Un autre regard Ethnographie, narration et postcolonialisme
- Mahasweta Devi: Draupadi
- Gayatri Chakravorty Spivak: « Draupadi »: Avant-propos de la traductrice

Silvia Moreno-Garcia’s Mexican Gothic subverts the traditional function of scary stories as precautionary tales. In many ways, the novel is a grownup reinterpretation of fairytales that center upon a damsel in distress – except rather than punishing the female protagonist for not being complacent, it rewards her for taking action on her own behalf. Additionally, the novel addresses themes related to colonization, and it importantly focuses on the heroine’s self-actualization as a young woman with both Spanish and indigenous roots. Indeed, through the symbols that manifest these themes into the corporeal world of the novel, Mexican Gothic reads as an allegorical representation of Anzaldúa’s conception of the New Mestiza.

There would be no Latinx geographies without Black geographies. What I mean by this is that Latinx and Black geographies are inextricably linked, because Blackness and Latinidad are not mutually exclusive and because Black thought, experiences, history and politics, along with the legacy of transatlantic slavery, profoundly shape contemporary social and spatial arrangements in las Américas. These realities became indisputably clear for me as a Latina feminist geographer working closely with, and writing about, a diverse collective of Latinx community workers and activists struggling for social justice in the Greater Toronto Area, Canada.

This article critically departs from the second-wave feminism of first-generation Latina feminist and mujerista theology by focusing on Chicana queer feminist theorist Gloria Anzaldúa’s relational epistemology. I argue that Anzaldúa’s work is a new form of feminist theologising that stems from a radical commitment to interconnectedness and relationality. I enter into a conversation with Anzaldúa in order to foreground new, productive, and creative ways to reflect on feminist standpoint epistemology and ontology, which in turn open up interesting avenues through which to think about the material and experiential dimensions of women’s theologising. I consider Anzaldúa’s El Mundo Zurdo (The Left-Handed World)1 and her fecund notion of spiritual activism in order to illuminate the centrality of relationality and interdependence when conceptualising new forms of women’s subjective engagements in the production of theology.

Transnational students and families are those who cross real and metaphoric borders, spanning countries, to engage family and community in meaningful ways. Based on a three-year, multi-sited ethnographic study, I show the distinct ways of knowing of four Mexican-origin, working class families and how the U.S. schools where the children from these families study hardly recognize these ways of knowing. The families’ ways of knowing can be characterized as a form of what Gloria Anzaldúa calls conocimiento, or knowing, under three interweaving categories: Nepantlera or in-between, bridge-building knowing; sobrevivencia or survivalist knowing; and chained knowing, in which families are chained in their knowing to the realities of the U.S./Mexican border and their extended communities and families who also are impacted by the bor- der. The article shows that schools recognize neither transnational practices, such as return trips to Mexico, nor transnational ways of knowing. Educators may strengthen their own ways of knowing and create a more equitable peda- gogy for all students if they learn to help co-construct the bridges families such as the ones in this study have already begun to build.

Unlike traditional Western autobiographies, which tend to circle around questions of individuality and the developing subject, Native American selfnarrations have dwelt on the construction of a "communal or relational self' (Wong 2005: 127), that is, indigenous memoirs clearly illustrate how individual and communal histories are necessarily interrelated. Moreover, many Native American authors have also manifested a certain appeal for ethnic "af-filiation," as a need for recognition and validation both by mainstream society and by their communities. In

Queer theory describes a network of critiques emerging from a legacy of activism and looking ahead to utopian futures. The analytical tools queer theory provides as a mode of close reading and critique makes it a relevant contemporary approach to literary theory. Beyond reading for queer characters and desires in texts, queer theory is a tool for seeing below the superficial, and supporting unconventional readings that deconstruct normative assumptions. The activist roots of queer theory in the 1969 Stonewall Riots places drag, trans issues, class, race, violence, gender, and sexuality at the heart of queer theorizing. Subsequent work engages topics such as temporality, ecology, geography, and diaspora through the analysis of culture and politics, but also literature, film, music, and other media. Queer theory attends to both the rhetorical power of language and the broader structures of knowledge formulation. As feminist epistemology asks whose knowledge matters and who creates knowledge, queer theory asks whether knowledge matters and whether naturalized knowledge is constructed. Textual or discursive construction of knowledge is a key theoretical approach of queer theory with important implications for literature. Queer theory embraces a multidisciplinary and diverse set of influences, methodologies, questions, and formats. The critiques can be applied to help deconstruct naturalized epistemic frameworks around topics notably including, language, gender, sexuality, history, the subject, universality, the environment, animals, borders, space, time, norms, ideals, reproduction, utopia, love, the home, the nation, and power. Queer theory empowers novel readings of the world, and worldly readings of the novel, opening up new ways of viewing life and text.

Ważnym wkładem książki Ewy Domańskiej jest zwrócenie uwagi na te obecne w nowej humanistyce i podejmowane przez historie niekonwencjonalne awangardowe idee, które są bagatelizowane lub pomijane przez badaczy reprezentujących główny nurt rozważań historycznych. Należy jednak podkreślić, że książka ta w żaden sposób nie jest "postmodernistycznym" atakiem na tradycyjną historiografię. Jest ona raczej uważnie przestudiowaną i wrażliwą prezentacją nowego rodzaju przedmiotów (i podmiotów) badań historycznych, powołanych do życia przez nowożytność, modernizację oraz ekstremalne sytuacje.

How is it possible for diasporic Indigenous women and mothers, to remember, recover and restory what has been lost in the last five hundred years of colonization? How can mothers who have been displaced from land, language, and culture as a result of colonization participate in cultural restoration, their own and that of the collective. How is Trauma involved, relied on, perpetuated, and resolved in order to either maintain or escape patterns of fight, flight and/or paralysis? As a Xicana Indígena mother, existing in the cycle of birth and death, always becoming ancestor, I have searched for an accurate story to pass on to my children, a story that is true but that is also a truth-telling. I address and explore problems of authentic identity – de- Indianization, appropriation and misappropriation, and hemispheric Indigeneity in order to set up the initial problem. I then move on to consider historical trauma, trauma theory, Indigenous healing practices and paradigms as well as resonant western ones. I then consider histories, issues, and ceremonies related to Indigenous birth and mothering. This project is a Ceremony of restoration, of decoding remnants, of generative gestures, and stitching stories. It offers guiding principles and ceremonial protocols that allow for the product of ceremony, vision, to emerge. A large part of this dissertation consists of imaginal, dream-crafted, poietic, and performative output and it is supplemented with an exhibition and a published collection of poetry. I share my vision, a personal transformation and an offering, a generative gesture of In Xochitl In Cuicatl – poetry and prayer that honors Indigenous holistic dualism as a way forward through trauma . . . into freedom. Supplementary materials available at: https://hdl.handle.net/2429/79526

It is a special section of the review "Scritture migranti" (vol. 2, p. 151-207, 2009) devoted to Gloria  Anzaldúa, edited by Paola Zaccaria . It contains:
- the  translation into Italian of Karin Ikas's Interview to Anzaldúa, published  in the second edition of "Borderlands/La Frontera. The New Mestiza", San Francisco, Aunt Lute, 1999, translated by Angela D'Ottavio;
- the translation into Italian of Anzaldúa's essay "Chicana Artists: Exploring Nepantla, el Lugar de la Frontera,  «NACLA Report on the America» (27, n. 1, July-August 1993, pp. 163-
169), translated by Annarita Taronna;
- the essay "Abitare terre a confini instabili:
dalle borderlands al Nepantla, il luogo delle trasformazioni" written by Paola Zaccaria.

The paper “The meaning of Frantz Fanon's idea 'the lived experience of the black man'”  discusses the meaning of the idea “the lived experience of the black man” of the great Martinique philosopher and psychiatrist Frantz Fanon that is articulated in chapter 5 of his first book Black Skin, White Masks. The purpose of the discourse is to understand how Fanon's discussion of the racial issues transcends itself giving the opportunity to understand the lived experience of all colonized subjects, such as women, people of color, non-western cultures. It shows this by comparing Fanon's ideas to the ideas of woman's oppression by Simone de Beauvoir and intersectional ideas of the mestiza consciousness, borderland identity by Gloria Anzaldúa. This means that it will try to persuade the audience that Fanon's discussion of the Black experience has high symbolic meaning, because by Black person we can understand any oppressed subject not just attached to her race specificity.

This anthology foregrounds scholarly, activist, and creative refl ections on spirit, spirituality, and "spiritual activism" (Anzaldúa 2002a) from the perspectives of Chicana, Latina, and Indigenous women. We, the coeditors Elisa Facio and Irene Lara, have been studying Chicana, Latina, and Indigenous women's spiritualities and, just as significantly, living our own spiritualities since the 1990s. Through our distinct yet interweaving paths as spiritually identified Chicana scholar-activists from working-class backgrounds, we are committed to decolonizing the academy that largely devalues or misunderstands spirituality, both as a serious academic topic and as an integral aspect of being alive. We have encountered many others who are also committed to a life of inquiry , teaching, writing, cultural activism, or social justice that values a spiritual perspective and praxis grounded in the decolonial histories, politics, and dynamic cultures of our Indigenous and mestiza/o ancestors and in solidarity with Indigenous people and people of color, across constructed "races" and "nations." Built on the supposition that spirituality often plays a decolonizing role in creating meaning, inspiring action, and supporting healing and justice in our communities, this anthology contributes to an emerging body of knowledge focused on voicing and understanding spirituality through an intersectional, interdisciplinary, and nonsectarian lens. Although they are widely perceived to be a religious or spiritual group, until recently there have been few works that address the gendered, sexualized, classed, and racialized spiritualities of Chicanas, Latinas, and Indigenous women, particularly through their own voices.

it makes significant philosophical contributions to feminism, epistemology, aesthetics, ontology, critical philosophy of race, and social and political thought at the same time that it calls into question how we conceive of and organize these areas of study to begin with. Indeed, Light in the Dark/Luz en lo oscuro thematizes the process of thinking, writing, and creating, "question[ing] its own formalizing and ordering attempts, its own strategies, the machinations of thought itself, of theory formulated on an experiential level of discourse" (7). Anzaldúa's excavation of her own writing and thinking practice throughout this text--as well as her unique mode of working between languages and genres--builds on her previous work, but in Light in the Dark/ Luz en lo oscuro her creative process is even more richly rendered. The manuscript itself is composed of six chapters and a preface, distinct but interconnected threads that recast and reimagine central philosophical questions surrounding oppression, resistance, identity, knowledge, and experience. Throughout, Anzaldúa thematizes the practice of writing, analysis, and theoretical work, making vivid the process and possibilities of theory and philosophy.

per le mani/mozzate agli Arawak/da Colombo e i suoi uomini/o quelle dei bambini Ohlone tagliate dai preti spagnoli cesti/di mani mozzate presentate alla fine della giornata ai padroni delle piantagioni belghe/nel Congo pollici/mozzati ai tessitori indiani dagli inglesi/questa opera la faccio perché le mani/ancora le ho. (Patel 2008, trad. it. p. 63) 141 Perché ero interessata a una lingua e a un'esperienza del mondo così diverse dalla mia? Come trasferire in italiano lo spessore di quella linguaesperienza? A chi sarebbe importato dei racconti di una donna mestiza, una lesbica chicana, una «mezzo e mezzo», come lei dice, in tutti i sensi? Quale poteva essere il punto d'intersezione tra la densità culturale di quella narrazione e, per esempio, il vissuto dei miei studenti del Sud Italia che comunque, avendo la percezione di vivere in un mondo globalizzato, ritenevano la cultura americana come quell'indifferenziata stereotipa costruzione che recepivano tramite pubblicità e film?

In this article, I examine the relationship between self-knowledge practices among women of color and structural patterns of ignorance by offering an analysis of Gloria E. Anzaldúa's discussions of self-writing. I propose that by writing about her own experiences in a manner that hails others to critically interrogate their own identities, Anzaldúa develops important theoretical resources for understanding self-knowledge, self-ignorance, and practices of knowing others. In particular, I claim that in her later writings, Anzaldúa offers a rich epistemological account of these themes through her notion of autohistoria-teoría. The notion of autohistoria-teoría demonstrates that self-knowledge practices, like all knowledge practices, are social and relational. Moreover, such self-knowledge practices require contestation and affirmation as well, including, resistance and productive friction.

Having written previously on Mestizo Modernisms, Hedrick is now at work on a study of national and cosmic identity discourse across the Latin American and Latino Americas diaspora.  Her meditation on the mid-20th century Mexican mushroom vogue is drawn from that project, whose working title is Queering the Cosmic Race: Gloria Anzaldúa, Ana Mendieta, and Walter Mercado, 1968-2010.