Hostname: page-component-cd9895bd7-8ctnn Total loading time: 0 Render date: 2024-12-22T14:53:09.587Z Has data issue: false hasContentIssue false
  • English
  • Français

Precarious Resistance: Weaving Opposition in the Poetry of Cecilia Vicuña

Published online by Cambridge University Press:  23 October 2020

Juliet Lynd
Get access Rights & Permissions [Opens in a new window]

Abstract

Woven through the threads of the poetry, performance, and visual art of Cecilia Vicuña are the image and metaphor of weaving itself, a visual and cultural reminder of an other—indigenous and feminine—form of forging cultural memory. Ever committed to using the aesthetic both to remember the violent exclusions of history and to explore the perpetuation and transformation of the marginalizing structures of power in the present, Vicuña's multigenre work spans over thirty years of Chile's turbulent history of struggle with dictatorship and toward democracy. This essay analyzes the interlacing of textile and text in quipoem, a collection of the poetry and visual art of this author-artist that re-presents a constantly evolving theorization of the complex relation between aesthetics and politics, writing and difference, and memory and power in the postcolonial, postdictatorship context of the Americas in the age of neoliberal globalization.

Type
Research Article
Information
PMLA , Volume 120 , Issue 5 , October 2005 , pp. 1588 - 1607
Copyright
Copyright © Modern Language Association of America, 2005

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Avelar, Idelbar. The Untimely Present: Postdictatorial Latin American Fiction and the Task of Mourning. Durham: Duke UP, 1999.CrossRefGoogle Scholar
Barthes, Roland. Camera Lucida: Reflections on Photography. 1980. Trans. Howard, Richard. New York: Hill, 1981.Google Scholar
Bianchi, Soledad. “Pasaron desde aquel ayer ya tantos años, o acerca de Cecilia Vicuña y la Tribu No.” Hispamérica 17.51 (1988): 87–94.Google Scholar
Bianchi, Soledad. La memoria: Modelo para armar: Grupos literarios del década de los sesenta en Chile: Entrevistas. Santiago: Dirección de Bibliotecas, Archivos y Museos, 1995.Google Scholar
Damon, Maria. “‘Independent Embroidery’: Theorizing, Improvising Text/ile Collaborations.” Chain 4 (1997): 37–41.Google Scholar
Deleuze, Gilles. Repetition and Difference. 1968. Trans. Patton, Paul. New York: Columbia UP, 1994.Google Scholar
de Zegher, M. Catherine. “Ouvrage: Knot a Not, Notes as Knots.” de Zegher, Precarious 17–45.Google Scholar
de Zegher, M. Catherine, ed. The Precarious: The Art and Poetry of Cecilia Vicuña. Hanover: UP of New England, 1997.Google Scholar
Ehrenberg, Felipe. Introduction. Vicuña, Sabor. n. pag.Google Scholar
Graffigny, Françoise de. Letters from a Peruvian Woman. Trans. Kornacker, David. New York: MLA, 1993. Trans. of Lettres d'une Peruvienne. 1747.Google Scholar
Gubar, Susan. “The Blank Page.” Writing and Sexual Difference. Ed. Abel, Elizabeth. Sussex: Harvester, 1980. 73–93.Google Scholar
Jameson, Fredric. “Cognitive Mapping.” The Jameson Reader. Ed. Hardt, Michael and Weeks, Kathi. Malden: Blackwell, 2000. 277–87.Google Scholar
Jameson, Fredric. The Cultural Turn: Selected Writings on the Postmodern, 1983–1998. London: Verso, 1998.Google Scholar
Jameson, Fredric. Postmodernism; or, The Cultural Logic of Late Capitalism. Durham: Duke UP, 1991.Google Scholar
Keefe-Ugalde, Sharon. “Hilos y palabras: Diseños de una ginotradición (Rosario Castellanos, Pat Mora y Cecilia Vicuña).” Inti 51 (2000): 53–67.Google Scholar
Klindienst, Patricia. “The Voice of the Shuttle Is Ours.” Stanford Literature Review 1 (1984): 25–53.Google Scholar
Lippard, Lucy. “Spinning the Common Thread.” de Zegher, Precarious 7–15.Google Scholar
Mackey, Carol. “The Continuing Khipu Traditions: Principles and Practices.” Quilter and Urton 320–47.Google Scholar
Mignolo, Walter D. The Darker Side of the Renaissance: Literacy, Territoriality, and Colonization. Ann Arbor: U of Michigan P, 1995.Google Scholar
Paternosto, César. “Cecilia Vicuña.” Trans. Carlson, Lori M. Review 39 (1988): 16–17.Google Scholar
Paternosto, César. The Stone and the Thread: Andean Roots of Abstract Art. Trans. Allen, Esther. Austin: Texas UP, 1996.Google Scholar
Quilter, Jeffrey. Preface. Quilter and Urton xiii–xix.Google Scholar
Quilter, Jeffrey, and Urton, Gary, eds. Narrative Threads: Accounting and Recounting in Andean Khipu. Austin: U of Texas P, 2002.Google Scholar
Rama, Angel. La ciudad letrada. Hanover: Nortes, 1984.Google Scholar
Richard, Nelly. “Presentación.” Políticas y estéticas y de la memoria. Ed. Richard, . Santiago: Cuarto Propio, 2000. 9–12.Google Scholar
Salomon, Frank. “Patrimonial Khipu in a Modern Peruvian Vilage: An Introduction to the ‘Quipocamayos’ of Tupicocha, Huarochirí.” Quilter and Urton 293–319.Google Scholar
Urton, Gary. Signs of the Inka Khipu: Binary Coding in the Andean Knotted-String Records. Austin: U of Texas P, 2003.Google Scholar
Vicuña, Cecilia. “César Paternosto.” Trans. Carlson, Lori M. Review 39 (1988): 14–15.Google Scholar
Vicuña, Cecilia. Precario/Precarious. Trans. Twitty, Anne. New York: Tanam, 1983.Google Scholar
Vicuña, Cecilia. quipoem. Trans. Allen, Esther. Hanover: UP of New England, 1997.Google Scholar
Vicuña, Cecilia. Sabor a mí. Bilingual ed. Introd. and trans. Felipe Ehrenberg. London: Beau Geste, 1973.Google Scholar
Vicuña, Cecilia, ed. Ül, Four Mapuche Poets: A Bilingual Anthology. Introd. Vicuña. Trans. John Bierhorst. Poetry in Indigenous Languages. Pittsburgh: Latin Amer. Lit. Review, 1998.Google Scholar
Vicuña, Cecilia. La wik'uña. Santiago: Zegers, 1990.Google Scholar