Zines in Third Space

Adela C. Licona

Description

Zines in Third Space develops third-space theory with a practical engagement in the subcultural space of zines as alternative media produced specifically by feminists and queers of color. Adela C. Licona explores how borderlands rhetorics function in feminist and queer of-color zines to challenge dominant knowledges as well as normativitizing mis/representations. Licona characterizes these zines as third-space sites of borderlands rhetorics revealing dissident performances, disruptive rhetorical acts, and coalitions that effect new cultural, political, economic, and sexual configurations.
List of Illustrations
Acknowledgments

1. Borderlands Rhetorics and Third-Space Sites

Recognizing Borderlands Rhetorics in Zines as Third-Space Sites
Borderlands Peregrinations: Traveling Beyond Borders and Binaries in Third Space
Third Space Imaginary, Coalitional Consciousness, and Zines
Reading, Writing, and Re-presenting as Potentially Transformational Practices
Exploring Third-space Zines and the Chapters to Follow

2. The Role of Imagination in Challenging Everyday Dominations: Articulation at Work in Producing Antiracist Egalitarian Social Agendas

Community Scribes: Lived Knowledges and Community Literacies
Code-Switching and the Identification of One An-Other
Academic and Non-Academic Third Space Sites of The
Politics and Practices of Articulation

3. Embodied Intersections: Reconsidering Subject Formation Beyond Binary Borders

Reversals and refractions: Shattering the Normal(izing) Gaze
R E V E R S O: Re-Views and Re-Considerations
Embodied Resistance and Coalitional Subjectivity
Embodied Knowledge as Practice and Power

4. Queer-y-ing Consumption and Production: Critical Inquiries and Third-Space Subversions

Reconfiguring the Objects and Subjects of Consumption and Production: Brrls in the Material World
Queer-y-ing cporatized Knowledges: Revised Practices of Consumption and Production
Queer-y-ing Histories: Dissident Performances and Discourses
Re-configuringRelations and Imagining Alternatives
Queer-y-ing the Cycles of Production and Consumption: Third-Space Thrifting, Second-Order Consumption, and Trades
The Re(in)Formed and Conscientious Consumer and Producer

5. Epilogue: Third Space Theory and Borderland Rhetorics

Applied Theory and the Everyday: Academic and Non-Academic Contexts
Third-Space Peregrinations and Lived Borderlands Rhetorics
Why Zines/Why Now: Unleashing Radical (Rhetorical) Third-Space Potentials
Entremundista: Third Space Navigations and Zines as Familiar Terrain

Notes
Bibliography

Sujets

• Media studies

Informations

• Publié par: State University of New York Press
• Date de parution: 31 octobre 2012
• Nombre de lectures: 0
• EAN13: 9781438443737
• Langue: English

Extrait

Zines in Third Space
Radical Cooperation and Borderlands Rhetoric
ADELA C. LICONA

Cover credit: I am grateful to Tyrell Haberkorn of Rubyfruit Manifesto, Helen Luu of How to Stage a Coup, Nadia Khastagir and Design Action, and Jamie A. Lee of visionaries filmworks for the images and design of the front cover.
I need to acknowledge that earlier versions of excerpts from chapters in my book appeared as essays in the National Women's Studies Association Journal in 2005 and in Nóesis: Revista de Ciencias Sociales y Humanidades in 2007.
Published by State University of New York Press, Albany
© 2012 State University of New York
All rights reserved
Printed in the United States of America
No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher.
For information, contact State University of New York Press, Albany, NY www.sunypress.edu
Production by Kelli W. LeRoux Marketing by Kate McDonnell
Library of Congress Cataloging-in-Publication Data
Licona, Adela C.
Zines in third space : radical cooperation and borderlands rhetoric / Adela Licona.
p. cm.
Includes bibliographical references and index.
ISBN 978-1-4384-4371-3 (hardcover : alk. paper)
1. Zines. 2. Third-wave feminism. 3. Communication—Social aspects. 4. Race relations. 5. Gender identity. 6. Social justice. I. Title.
PN4878.3.L47 2012
791.43'6552—dc23
2011044030
10 9 8 7 6 5 4 3 2 1

For my father, who did not finish high school but had a self-proclaimed PhD in life, and who inspired my respect and admiration for public intellectuals. In recognition of his love for life and language, which was evidenced most poignantly at the end of his life through his Lake Obregon epistolaries.
For my mother, whose steady—slow and steady—ways have fortified me and have ultimately given me grit.
For my daughters, mis tesoros, Sophia and Aida, whose joyful and playful wisdom made the journey always sweeter and lighter, and whose wholehearted trust in me along the way helped me to learn to trust myself.
Para mis herman@s—For Miguel Mario, who encouraged me to return to graduate school, listened to The Art of Motorcycle Maintenance with me on our shared commutes to grad school, and shared long conversations with me about the promises of radical pedagogies and the perils of hegemony (a word we delighted in learning to pronounce and understand and one that was banned for a while from our family gatherings). For Memo, who shared his haven on the mountaintop, in the summer of 2010, as a writing refuge. For Carlos and Wanda, who set up a makeshift podium in their cocina and listened to parts of this manuscript even though much of it is not their cup of tea. For Herli, for reading versions of chapters carefully and listening deeply throughout this process. And for Elisa, who always simply believed.
For Jamie, whose deep respect for the value of the everyday stories of our lives inspires me, whose quirk and curiosity delights me, who is so very sweet to open my eyes to each morning, and whose kindness cultivates a home space that I always want to come home to.
Illustrations 2.1 “she is always and never the same”—from Rubyfruit Manifesto #2 , edited by Tyrell Haberkorn 2.2 “think about it”—from Rubyfruit Manifesto #2 , edited by Tyrell Haberkorn 2.3 Cover of HOW TO STAGE A COUP: an insurrection of the underground liberation army , from HOW TO STAGE A COUP , edited by Helen Luu 2.4 “HerBaL aLLIes FOR crazy Grls”—from Bamboo Girl #11 , edited by Sabrina Margarita Sandata 2.5 “NO RACIST SCAPEGOATING”—from Bamboo Girl #11 , edited by Sabrina Margarita Sandata, and Design Active Collective, illustrator 2.6 “NOT IN OUR NAME”—from Bamboo Girl #11 , edited by Sabrina Margarita Sandata, and Favianna Rodriguez, illustrator 2.7 “Bamboo Girl”—from Bamboo Girl #11 , edited by Sabrina Margarita Sandata 2.8 “Listen Up! ¡Escuchan!”—from Calico, #5 2.9 “… YOU'RE GOING TO HAVE TO FIGHT ME FIRST”—from ¡Mamasita!, Issue One , edited by Bianca Ortiz 3.1 “WE ARE NOT A MONOCHROMATIC PEOPLE”—from Borderlands: Tales from Disputed Territories Between Races and Cultures , edited by Nia King 3.2 Cover depicting a river crossing—from Apoyo , edited by Cindy Crabb, and Cristy C. Road, illustrator 3.3 “Self-portrait in Black & White”—from Borderlands , edited by Nia King, and Emily Leach, illustrator 3.4 “PELA, SKIN, NARIZ, TALK”—from Borderlands , edited by Nia King, and Luisa Zamora, illustrator 3.5 “kill the image that is killing you”—from Housewife Turned Assassin!, Numero #1 , edited by Dani and Sisi 3.6 “WE ARE NOT THE ENEMY”—from Bamboo Girl #11 , edited by Sabrina Margarita Sandata, and Favianna Rodriguez, illustrator 3.7 “JUSTICE NOT VENGEANCE”—from Bamboo Girl #11 , edited by Sabrina Margarita Sandata, and Inkworks Press, illustrator 3.8 “Fight Sizeism”—from Tater Taught #1 , edited by Emily Barber 4.1 “Boy? Girl? Brrl.”—from Pirate Jenny (vol. 1, #4), edited by P.J. Goodman 4.2 “PURGE ACTION Barbie ® ”—from ¡Mamasita!, Issue One , edited by Bianca Ortiz 4.3 Image of Sor Juana Inés de la Cruz—from Bi-Girl World, Summer 1993 , edited by Karen 4.4 baby K's “… too QUEER … too STRAIght”—from Bi-Girl World, Summer 1993 , edited by Karen 4.5 “ANGST COLUMN: HOW FILIPINO/PILIPINO ARE YOU?”—from Bamboo Girl #11 , edited by Sabrina Margarita Sandata
Acknowledgments for the Gifts of Knowledge
First I would like to acknowledge and thank every zinester whose work I experienced as its own theoretical production and act of public scholarship, and who inspired me to keep it real and write from where and who I am.
Efforts to disentangle the strands of knowledge that inform this project take me back to people and places that have been meaningful to me throughout my history. I begin by acknowledging my now passed Memas, my three grandmothers, whose home on the hill gave me perspective. Perhaps it is this first gift of perspective that allowed me to experience the chaos and contradictions of my family life, with lived histories on both sides of the U.S./Mexico border, also as gifts—often joyful, sometimes challenging, but always generative. From as early as I can remember, I experienced my mixed-race life as a commingling of truths and values, of old and new ways of being, and of music and food that can be traced in multiple directions across space and time.
Growing up on the border was a bittersweet experience of stark realities. When I first read Gloria Anzaldúa, Emma Pérez, Yolanda Leyva, and Chela Sandoval, I experienced both an awakening as well as a deep, and sometimes difficult, knowing. I am profoundly grateful to these scholars and to every Chicana writer and public intellectual whose work helped me to think, feel, and know more deeply, and helped me to believe that I belong. The deep knowing that is sometimes accompanied by a kind of recognition continued as I read, for the first time, the literatures of cultural studies, feminist theories, radical pedagogy, queer theory, and even radical research methods. I am grateful to have been taught to value the lived knowledges of my everyday. When these knowledges combined with those I encountered in graduate school, my life changed. Forever. To those who first introduced me to such meaningful literatures at New Mexico State University, I am always grateful.
I am grateful to the women in my masters program who encouraged me to pursue my doctorate and whose work and friendship continue to inspire and sustain me—Robbin Crabtree, Margaret Jacobs, and Catrióna Rueda Esquibel.
And I extend continued thanks to my dissertation committee:
To Diane Price Herndl, who taught me to value my insistence for joy in the process and whose fierce intelligence I am the beneficiary of. By example, she taught me to recognize all academic endeavors as creative. To Carl Herndl, whose mentorship and collaboration produced a publication I remain so proud to be a part of and who, importantly, taught me to love first F(l)at Tire and then Newcastle. To Amy Slagell, who let me color outside of the lines. To Michael Mendelson, who insisted on cultivating beauty along our intersecting academic pathways. And to Jill Bystydzienski, who helped me fulfill my need and desire to work across disciplines.
For Brenda Daly, whose meticulous scholarly eye and caring heart helped me through more drafts of work than I or she care to remember. I can get lost (joyfully so) in the messiness of thinking, and so I want to express particular gratitude for those whose love of detail helped this dissertation become a book. Rebecca Iosca from Chicken Scratch Editing worked with great care and expert precision, and out of our work a friendship emerged. Special thanks, too, to Marissa Juárez and Mary Duerson, whose early editing assistance helped this book take huge leaps in its trajectory. Thanks to Kristin Mock for her help with proofreading this work. I am grateful to Ken McAllister who, even as he was at work on his own book, read and then thoughtfully commented on drafts of this manuscript over an entire morning at a local diner