우리들의 손상된 여신을 위하여: 글로리아 안잘두아, 체리에 모라가, 아나 카스틸로의 작품에 나타난 상처, 고통, 장애 그리고 치유의 영적 여정
For Our Mutilated Goddesses: Wounds, Pain, Disability, and a Spiritual Journey of Healing in the Works of Gloria Anzaldua, Cherrie Moraga, and Ana Castillo
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The Chicana feminist foremothers, Gloria Anzaldua, Cherrie Moraga, and Ana Castillo return to the body of mutilated Chicana with wounds, pain, and disability, leading to a spiritual journey of healing by presenting it as a Mesoamerican Goddess. Anzaldua, suffering from a severe hormone imbalance and diabetes, illustrates the goddess role as she describes the process of self-healing, seven stages of Conocimiento, in unity with the snake goddess Coatlicue, who was lifted from a wave of pain. Moraga portrays a restorative journey as a spiritual activist by describing the Coyolxauhqui imperative, a process of healing and integration through a sense of unity with Coyolxauhqui who was the Moon goddess defeated un a family war by the god of the sun and a disabled protagonist. Castillo portrays the rites of passage to become a curandera of a community, depicting a community of wounds based on the ethics of feminine care. This cultivates a new myth about injury and healing through the main character, the symbol of the Earth Goddess. The three writers adopt a strategy to bring the aesthetics of Native American myths to the foreground of their work as a source of healing for the reality of suffering and as a symbol of resistance to colonization. Their literature is a tribute to the sad, beautiful goddesses born in their colonial homeland whose wounds and pain remain.
Abstract
The Chicana feminist foremothers, Gloria Anzaldua, Cherrie Moraga, and Ana Castillo return to the body of mutilated Chicana with wounds, pain, and disability, leading to a spiritual journey of healing by presenting it as a Mesoamerican Goddess. Anzaldua, suffering from a severe hormone imbalance and diabetes, illustrates the goddess role as she describes the process of self-healing, seven stages of Conocimiento, in unity with the snake goddess Coatlicue, who was lifted from a wave of pain. Moraga portrays a restorative journey as a spiritual activist by describing the Coyolxauhqui imperative, a process of healing and integration through a sense of unity with Coyolxauhqui who was the Moon goddess defeated un a family war by the god of the sun and a disabled protagonist. Castillo portrays the rites of passage to become a curandera of a community, depicting a community of wounds based on the ethics of feminine care. This cultivates a new myth about injury and healing through the main character, the symbol of the Earth Goddess. The three writers adopt a strategy to bring the aesthetics of Native American myths to the foreground of their work as a source of healing for the reality of suffering and as a symbol of resistance to colonization. Their literature is a tribute to the sad, beautiful goddesses born in their colonial homeland whose wounds and pain remain.
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