Titlebook: Gloria Anzaldúa’s Hemispheric Performativity; Pieces, Shuffles, La Romana Radlwimmer Book 2023 The Editor(s) (if applicable) and The Author

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https://doi.org/10.1007/978-88-470-2065-8nes of the Americas. Overhearing Caribbean women talking to each other, it dawned on the girl that language is continuously reinvented: “The first time I heard two women, a Puerto Rican and a Cuban, say the word ‘.,’ I was shocked. I had not known the word existed. Chicanas use . whether we’re male

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Scissors and Glue: Material Writing Dynamics,er the floor. On hands and knees, she tried to find the right order for words and concepts. She rearranged the pieces in new settings, gluing sentences and paragraphs together like a puzzle. This tactile dealing with text guided her way of constructing concepts. She did not aim for a linear, logical

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,Three Museums: “Border Arte’s” Multiplications,useum of Natural History on September 26, 1992, Anzaldúa’s fiftieth birthday and the monumental exhibit’s opening day. . ran for five months, until February 21, 1993, and counted 721,000 visitors. On 35,000-square-feet, over three galleries on two floors and an atrium, it displayed more than three h

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,A Hemispheric Perspective on Anzaldúan Textualities,nes of the Americas. Overhearing Caribbean women talking to each other, it dawned on the girl that language is continuously reinvented: “The first time I heard two women, a Puerto Rican and a Cuban, say the word ‘.,’ I was shocked. I had not known the word existed. Chicanas use . whether we’re male

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The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl

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Gloria Anzaldúa’s Hemispheric Performativity978-3-031-21870-5Series ISSN 2634-601X Series E-ISSN 2634-6028