Nearly 30 years after its publication Gloria E. Anzaldúa's book Borderlands/La Frontera: The New Mestiza remains more relevant than ever, particularly her discussion of borderlands as more than physical boundaries. In her book, she theorizes and explores how borders can possess psychic, social, and geopolitical qualities, and in order to articulate the nuances and challenges of border-culture, she invents a new language for underrepresented poets to discuss their poetics. The goal in crafting this essay is to reclaim Anzaldúa as an author worthy of consideration for her poetics. History and bloodlines are central to Anzaldúa's argument that poetry allows for language to transform violence, or historical and bloodline traumas, into one's own new myth-making. The capacity to redefine a border and make it borderless is discussed through the works of Natalie Scenter-Zapcio and Vanessa Angélica Villarreal's poems, in addition to a few key anthologies and my own collection, which seeks to sit in ambiguities and to reclaim and affirm histories. Ultimately, conversations about the poetics of Anzaldúa and her influence on other poets should expand our discussion of American poetics. Her focus on "psychic unrest" gives power to language over ambiguity and could be greatly useful to other poets beyond the border.

The personal is political, the political is personal. This mantra has inspired feminist thought for decades because of its emphasis on disclosing the personal in the name of consciousness raising, an important form of feminist activism focused on making what is invisible visible in the spirit of bringing about radical change. Feminist theorist Gloria Anzaldúa's inspirational writings epitomize the transformative power of incorporating the personal in academic theorizing. Her work has encouraged us to not only reimagine what counts as knowledge, but to "risk the personal" in our own writing. My thesis contributes to the burgeoning field of Anzaldúan studies by asserting the value of "risking the personal" in academic writing. I open up, immerse in, and expose my wound as I contend with the greatest rupture in my life yet. On January 23, 2011, merely two years ago, a single phone call broke my heart and soul. My 48 year-old mother was dead. My thesis is an autohistoria-teoría that aims to examine the suffering consciousness that arises when we experience traumatic ruptures that shatter our worlds. Specifically, I use Anzaldúa's theory of conocimiento as an epistemological framework to map my movements in consciousness as I write about my mother's unexpected death. I offer my personal account of grief to shatter the silence around death, revealing the complexity that surrounds and defines loss by giving voice to the marginalized experience of losing a mother as a young woman. I then write about the role of writing in the face of ruptures, arguing that writing is a powerful tool in developing conocimiento. After descending into my wound, I begin my spiritual activism by examining the power of opening ourselves to alternative ways of knowing. I immerse myself in Tibetan Buddhism, embracing its perspectives and contemplating impermanence. All of this in the service of developing conocimiento, a revolutionary mindset dedicated to constant transformation. This transformation is a process of personal and collective healing that acknowledges our interconnectedness. We all experience similar journeys of rupture, pain, and growth. Let us use this connection to improve ourselves, our communities, and our world. / text

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I investigate the ghosts in Elizabeth Bowen’s short stories, “Green Holly” and “The Happy Autumn Fields.” By blending psychoanalytic feminism and social feminism, I argue that these female ghosts are the incommensurable feminine—a feminine that exceeds the bounds of phallocentric logic and cannot be defined by her social or symbolic manifestations. An analysis of Bowen’s ghosts as actual ghosts is uncharted territory. Previous Bowen critics postulate that Bowen’s ghosts are imaginary figments or metaphors. These critics make Bowen’s stories “truthful” representations of the world, but, as such, Bowen’s ghosts become representations of the world’s phallocentric order. In contrast, I argue that these stories adopt a mestiza consciousness. Gloria Anzaldùa postulates that through a subaltern perspective developed outside of western logic, the mestiza reclaims the supernatural that exists outside of the masculine, symbolic order. The female ghosts are the feminine that Luce Irigaray explains, “remain[s] elsewhere” (76) as they live incommensurably in an alternate supernatural realm, disrupting phallic logic.

Gloria Evangelina Anzaldua (1942-2004) est une théoricienne féministe chicana, l'éditrice d'un ouvrage, This Bridge Called My Back, qui a marqué la littérature féministe dès sa parution, en 1981. Elle y dénonce avec force la marginalisation des femmes et des féministes « de couleur » au sein des théorisations féministes et confronte les féministes « blanches » à leur propre racisme. Elle y appelle aussi à construire un mouvement sur la base de la solidarité, plutôt que sur celle de l'unité. Anzaldua élabore cette idée dans ses théorisations, en proposant une conception originale de la subjectivité et des différences. La figure métaphorique qui illustre sa conception de la subjectivité - la mestiza - a largement été recensée dans la littérature féministe poststructuraliste, en étant toutefois amputée d'une dimension qui lui est centrale : celle de la spiritualité. Cette dimension, majeure dans l'œuvre d'Anzaldua, sous-tend l'idée d'interconnexion des sujets; elle souligne l'existence de relations entre elles qui inspirent leur affiliation et commandent leur regroupement en coalitions hétérogènes. La théoricienne chicana insiste, dans ses théorisations des différences, sur l'idée que les coalitions ne s'érigent pas malgré ces différences, mais plutôt, au travers de celles-ci. L'intérêt d'Anzaldua pour la subjectivité s'inscrit dans le cadre des débats sur la représentativité des théorisations des féministes « blanches » des expériences des féministes « de couleur ». La théoricienne chicana conçoit une subjectivité multiple, par opposition à la conception fragmentée de celle-ci que développent plusieurs féministes poststructuralistes. Cette subjectivité multiple permet de reconnaître différentes formes de violence épistémologique qui affectent les sujets et génèrent de l'exclusion. Elle rend également possible la création d'une force de lutte politique engagée contre l'exclusion des sujets. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Féminisme « de couleur », féminisme poststructuraliste, subjectivité, mestiza, nepantla, interconnexion, El Mundo Zurdo, violence épistémologique.

<p>We all embody various intersecting visible and non-visible social identities. Those intersecting identities can place some individuals at the margins or borderlands of their other identities, causing dissonance and perhaps threatening their sense of belonging to a community. Compounding potential identity dissonances, a learner finding their fit in engineering will likely face engineering attributes such as meritocracy, heteronormativity, and a climate that prioritizes technical feats and dismisses social phenomena as outside the scope of engineering. These interactions can negatively impact their belonging, persistence, and degree</p> <p>completion.</p> <p><br></p> <p>However, completing an arduous engineering degree at the intersection of multiple minoritized identities is feasible. In my dissertation, I use three studies to investigate how gay Latinx engineers navigate the borderlands of their intersecting identities. Along the way, I explore how they bridge the borderlands between those and their engineering identities as I examine how they manifest and leverage their assets at this identity intersection. Initial findings suggest that learners at the borderlands of multiple minoritized identities are keenly aware of social identities and cope by leveraging some of their powerful identities (i.e., masculinity, math, and science identities) to increase their sense of belongingness, proving they are successful and valuable members of humankind.</p>

This thesis takes a feminist and spatial approach to the analysis of ire'ne lara silva's collection of short stories flesh to bone, a continuation of the Anzaldúan body of thought. The thesis introduces two aspects–spiritual and spatial–to the wounds suffered by the Chicana collective Self which can be found within the characters and plotlines of lara silva's stories, and which had previously been outlined by Anzaldúa herself. This thesis also explains in depth the steps necessary to achieving the never-ending Coyolxauhqui Imperative, which is Anzaldúa's idea that to heal the collective Self, individuals must continue to create and tell the stories of our ancestors and ourselves as survivors instead of victims. Throughout this analysis, it is elucidated that lara silva has created herself a new theory to add to the Anzaldúan framework, called Tomiccama Tomiccanacayo, which translates from Nahuatl to mean: "We are protected by the hands and bodies of our ancestors". Thus, this thesis finds that, within flesh to bone, this new theory is asserted as a method of continuous healing and as an addendum to Anzaldúa's Coyolxauhqui Imperative. This study adds lara silva into the Anzaldúan academe and explains her words' significance to Chicana spatiality. My argument for the existence of lara silva's theory is important because of a continued necessity for collective female healing and the creation of art reaffirming the female Self to new generations of daughters becoming women.

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A organização da sociedade atual acontece em decorrência dos encontros entre culturas, sejam por meio de tragédias naturais, guerras mundiais, diásporas, reconfiguração de fronteiras ou da hibridização cultural. Nessa perspectiva, o objetivo desta pesquisa é investigar a construção da multiplicidade do Ser de fronteira a partir da perspectiva da escritora chicana Gloria Anzaldúa e do amazonense Milton Hatoum nas narrativas Borderlands/La frontera: The New Mestiza (1987), e Dois Irmãos (2000), respectivamente. Partindo das questões identitárias, o caminho para a análise das narrativas transita pelo espaço ficcional na intenção de evidenciar os deslocamentos e os fluxos migratórios das personagens como articuladores para compreender as feridas abertas nos espaços de fronteira. No decorrer da investigação foi possível ressignificar a fronteira como locus da diferença cultural e fragmentação para contrapor a ideia de que os lugares fronteiriços são fixos ou funcionam com divisores de sistemas culturais. Para desenvolver o trabalho, utilizo os métodos comparatistas e de aporte teórico da corrente culturalista. Uso os conceitos-chave de Walter Mignolo sobre a colonialidade do saber e de Stuart Hall e Homi Bhabha sobre as identidades heterogêneas. Na corrente filosófica, Jacques Derrida, com a teoria desconstrucionista, e Gilles Deleuze e Félix Guattari, com o rizoma e a teoria dos agenciamentos. Esse aporte é o fio condutor do debate sobre a modernidade tardia e da diferença cultural, tendo em vista espaços elaboradores de sujeitos marginalizados, periféricos, excluídos e silenciados. Sendo assim, a negação da postura essencialista, a partir da leitura das obras, serve de estratégia analítica e de compreensão da ferida aberta como espaço da multiplicidade dos sujeitos em regiões de fronteira. / Nowadays society’s structure is built upon/on encounters between cultures, natural tragedies, world wars, diasporas, reconfiguration of borders and cultural hybridization. Thus, the aim of this research is to investigate the construction of the multiplicity of the Frontier Self as it is through the approach of the Chicano writer Gloria Anzaldúa and in the approach of the Amazonian writer Milton Hatoum in Borderlands/La frontera: The New Mestiza (1987) and Dois Irmãos (2000), respectively. Considering the identity issues, the analysis of the narratives transits/moves/focuses on through the fictional space to highlight the displacements and the migratory flows of the characters as articulators in order to understand the open wounds in border spaces. Therefore, during the research, it was possible to re-signify the frontier as a locus of cultural difference and fragmentation to counteract the idea that frontier places are fixed or function as divisors of cultural systems. To develop this work, I apply comparative and theoretical methods within the culturalist approach as well as the key concepts of Walter Mignolo on the coloniality of knowledge, and Stuart Hall and Homi Bhabha on heterogeneous identities. The denial of the essentialist position, based on the reading of the works, serves as an analytical strategy and understanding of the open wound as the space of the multiplicity in border regions.