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Mestiza Rhetoric

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Jennifer Geraci

on 8 June 2011

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Transcript of Mestiza Rhetoric

http://youtu.be/MUPwYtOXx6I Andrea Lunsford describes Mestiza Rhetoric as the intersections between women's
rhetoric and rhetorics of color. She goes on to point out that "Anzaldua's writing mixes
not only her experiences as woman, lesbian, and Chicana, but also her varied linguistic
resources." Anzaldua's
multivalent language es una mezcla de Spanish, Nahuatl, and English She also traverses generic
borders in her use use of poems,
historical facts, prose and traditional Mexican dichos. Mestiza Rhetoric Coatlicue,
National Anthropology Museum,
Mexico City For more on mestiza consciousness and Chicana/o
Norma Alarcon
Francisco X. Alarcon
Cherrie Moraga
Pat Mora
Octavio Paz
Jose Vasconcelos (raza mestiza)
Andrea Lunsford Borderlands works to engage readers
in a discourse about cultural mutliplicity, abuses of power by dominant forces (Anglo, religious, masculine), and methods for repairing, without erasing, los heridas abiertas. "The U.S.--Mexican Border es una herida abierta where the Third World grates against the first and bleeds. And before a scab forms it hemorrages again, the lifeblood of two worlds merging to forma a third country--a border culture." (Anzaldua 25) Una lucha de fronteras/A Struggle of Borders

Because I, a mestiza,
continually walk out of one culture
and into another,
because I am in all cultures at the same time,
alma entre dos mundos, tres, cuatro,
me zumba la cabeza con lo contradictorio.
Estoy norteada por todas las voces que me hablan
simultaneamente. To empower all of la mestiza's characteristics, Anzaldua challenges readers to develop and nurture a tolerance for los choques, or the cultural clashes both within and without an individual. Este mujer es la new mestiza. The new mestiza, also referred to as mestiza conciousness, does not simply balance cultures or put together all of her cultural identities and languages. Not an amalgamated identity. "In attempting to work
out a synthesis, the self has added
a third element which is greater '
than the sum of its severed parts." (Anzaldua 101-102) 3 the new mestiza embraces her cultural ambiguities she code-switches she puts history through a sieve and reinterprets myths and lies; she deconstructs, constructs; she is a feminist; she inhabits Nepantla Nepantla is the space where all cultures reside, the in-between space,
the borderland, the space where "internal multiplicity [is turned] into
a positive discursive resource." (Lunsford 1583) nepantilism: derived from the Aztec word meaning "torn between ways" The Coatlicue State Coatlicue is an Aztec goddess, an archetype
that "depicts the contradictory"
she symbolizes the fusion of opposites
she represents duality in life, a synthesis of duality, and
a third perspective"
the third perpective, or third space, is mestiza consciousness.
Here, all conflicts, cultures, genders and painful experiences are
made meaningful.
the Coatlicue state is a "prelude to crossing" (Anzaldua 68-69) "The struggle of the mestiza is above all a feminist one"

Anzaldua and other theorists see the third space as a state of
consciousness that disables binaries (self/other; colonizer/colonized) (Anzaldua 106) (Cutter 28) La Malinche La Chingada Marina Tlazolteotl Coatlicue La Malinche is the indio in la mestiza. She is
aligned with Coatlicue, an aspect of mestiza consciousness. Malinche is one of los Chicanos
three mothers: Guadalupe, virgin mother La Llorona, mother who seeks lost children Malinche, raped mother of Mexican people, traitor Nepantla los choques Acknowledging, accepting, and nurturing all aspects of
one's identity is the what la mestiza represents.

Negotiating this nepantilism (identity) is a painful, yet vital endeavor. La mestiza
cannot "disown the white parts, the male parts, the pathological parts, the queer parts,
the vulnerable parts" (Anzaldua 110) Compustura "seaming together fragments to make a garment...which represents you, your identity in the world" (Lunsford 190) This perspective in writing, one which includes not only what the author knows, but also what the author has appropriated (think Althusser, even Derrida's remainders) diminshes the Romantic ideals of the Author. Thus, a more collaborative, integrative, and fluid tapestry is woven that relies upon mutliple voices, "not just those who are authorized to speak/write/be heard" (Lunsford 191)
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