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https://nacla.org/article/chicana-artists-exploring-nepantla-el-lugar-de-la-frontera
Chicana Artists: Exploring nepantla, el lugar de la frontera. Tweet. Gloria Anzaldúa. September 25, 2007. I stop before the dismembered body of la diosa de la luna, Coyolxauhqui, daughter of Coatlicue. The warrior goddess' eyes are closed, she has bells on her cheeks, and her head is …
https://www.tandfonline.com/doi/abs/10.1080/10714839.1993.11724648
Jan 22, 2018 · (1993). Chicana Artists: Exploring nepantla, el lugar de la frontera. NACLA Report on the Americas: Vol. 27, No. 1, pp. 37-45.Cited by: 11
https://search.opinionarchives.com/Summary/NACLA/V27I1P39-1.htm
Chicana Artists: Exploring nepantla, el lugar de la frontera Anzaldúa, Gloria. To be disoriented in space is to be en nepantla, to experience bouts of disassociation of identity, identity breakdowns and buildups. The border is in a constant nepantla state, and it is an...
https://chicanaart.blogspot.com/2021/02/week-8-gloria-anzaldua-border-arte.html
Week 8: Gloria Anzaldúa: Border Arte Nepantla, el Lugar de la Frontera In this short piece, Anzaldúa reflects on her visit to the Aztec: The world of Moctezuma exhibition at the Denver Art Museum. In this exhibition Anzaldúa is entranced by the highlighting of indigenous Aztec tradition such as Tenochtitlán, and how all of these ...
https://chicanaart.blogspot.com/2021/02/week-8-gloria-anzaldua-border-arte_22.html
In Gloria Anzaldúa's essay “Border Arte: Nepantla, el Lugar de la Frontera” she reflects on her five hour museum trip at the Denver Museum of Natural History to see the opening of the exhibition Aztec: The World of Moctezuma. In seeking to connect with this part of cultural history that Chicana/o artists often engage with, Anzaldua is confronted with questions about appropriation ...
https://college.cengage.com/english/coleman/making_sense/1e/instructors/irm/irm_part1.pdf
Chicana Artists: Exploring Nepantla, el Lugar de la Frontera Gloria Anzaldúa That Anzaldúa has written a bilingual text should come as no surprise to instructors famil-iar with her work. It will be a surprise to your students, however. Non-Spanish speakers will have some initial difficulty with the essay.
https://icaadocs.mfah.org/s/es/item/809763
Anzaldúa, Gloria. "Border arte : Nepantla, el lugar de la frontera." In La Frontera = The border: art about the Mexico/United States border experience. San Diego, CA : Centro Cultural de la Raza : The Museum of Contemporary Art, San Diego, 1993. Courtesy of the Museum of Contemporary Art …
https://legacy.lib.utexas.edu/taro/utlac/00189/lac-00189.html
"Chicana Artists: Exploring Nepantla, el Lugar de la Frontera," NACLA Report 27 (1), July-August 1993. 17 "Chicana Book of Days," manuscript 1999 March 6: 18 "Chicana/Colored Creativity and Critical Thought," manuscript draft 1990 May 12: 19 "Collected Essays," 2001 November [Table of contents to a collection of Anzaldúa's work] 20
https://en.wikipedia.org/wiki/Borderlands/La_Frontera:_The_New_Mestiza
Borderlands/La Frontera: The New Mestiza is a 1987 semi-autobiographical work by Gloria E. Anzaldúa that examines the Chicano and Latino experience through the lens of issues such as gender, identity, race, and colonialism. Borderlands is considered to be Anzaldúa’s most well-known work and a pioneering piece of Chicana literature. In an interview, Anzaldúa claims to have drawn inspiration …
https://read.dukeupress.edu/books/book/1942/chapter/235302/Border-ArteNepantla-el-lugar-de-la-frontera
Retraces her journey through the museum’s exhibit, Anzaldúa explores colonialism, neocolonialism, and the subjugated artist’s role in the decolonization process. Emphasizing border arte’s personal and collective dimensions, Anzaldúa connects her aesthetics to the work of other border artists–like Santa Barraza, Liliana Wilson, Yolanda M. López, and Marcia Gómez.
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