By Sheila Marie Contreras
Blood strains: delusion, Indigenism, and Chicana/o Literature examines a vast array of texts that experience contributed to the formation of an indigenous strand of Chicano cultural politics. specifically, this e-book exposes the ethnographic and poetic discourses that formed the aesthetics and stylistics of Chicano nationalism and Chicana feminism. Contreras deals unique views on writers starting from Alurista and Gloria Anzald?a to Lorna Dee Cervantes and Alma Luz Villanueva, successfully marking the invocation of a Chicano indigeneity whose foundations and formulations could be associated with U.S. and British modernist writing. via highlighting intertextualities equivalent to these among Anzald?a and D. H. Lawrence, Contreras evaluations the resilience of primitivism within the Mexican borderlands. She questions verified cultural views on "the native," which satirically problem and reaffirm racialized representations of Indians within the Americas. In doing so, Blood traces brings a brand new figuring out to the contradictory and richly textured literary courting that hyperlinks the tasks of eu modernism and Anglo-American authors, at the one hand, and the imaginary of the post-revolutionary Mexican nation and Chicano/a writers, however.
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Extra info for Blood Lines: Myth, Indigenism and Chicana o Literature (Chicana Matters)
We are convinced that it is only in this way that we may hope to achieve a coherent national consciousness, a true patria” (144). Couched in terms of hygiene, literacy, and economic readjustment, the project with which he has been charged and given the name “The New Conquest” is designed in such a way as to find little of value in the “backward civilization” (194) of the Indigenous communities of Mexico. Another Mexican anthropologist, Guillermo Bonfil-Batalla, well-known for his challenging of Mexican state indigenism, writes that “[i]ndigenismo did not contradict in any way the national plan that the triumphant Revolution had been crystallizing: to incorporate the Indian, that is, de-Indianize him, to make him lose his cultural and historical uniqueness” (116).
17 Texts drawn from this archive proved invaluable to Moore, who consulted them as “sculptural pattern books, providing him with a repertory of images during the formative decade of his art” (Braun 98). 17, 131). Rejecting Mayan sculpture as too similar to the Western tradition (Braun 107), Moore focused almost exclusively on Aztec sculpture, producing numerous works that not only evoke, but also clearly imitate particular Aztec artifacts. 18 In keeping with conventional primitivist values, Moore intended for the “primordial vitality” of Aztec art to “miraculously infuse new life into modern art” (Braun 111).
This discourse that defines and appropriates Native cultures functions, ironically, to maintain the place of “the West” in the evolutionary order. ” In their attempts to celebrate Indigenous cultures, primitivists identify features or practices that might be collected and imported into a Western context to make civilized life richer. In few cases do primitivists actually want to adopt fully a primitive lifestyle. The primitive, rather, is an exotic symbol that can be used to represent “man” in a condition of nature, as in the writings of Montaigne, or unconscious drives, as in the work of D.