Size Matters: Walton Fords Promiscuous New World Grammatology in Chingado (1998)

In his painting Chingado (1998), US-American artist Walton Ford undertakes an interspecies queering of modern Mexico’s origin myth. Using the visual protocols of early 19th-century natural history artists, Ford presents the colonial clash of cultures as animal allegory. With a focus on the ‘ink and...

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Autor principal:	Claudia Leitner
Formato:	article
Lenguaje:	EN ES
Publicado:	Prof. Dr. Vittoria Borsò, Prof. Dr. Frank Leinen, Jun.-Prof. Dr. Yasmin Temelli, Prof. Dr. Guido Rings 2014
Materias:	animal allegory conquest ecocriticism writing systems zapatista revolt Language and Literature P
Acceso en línea:	https://doaj.org/article/9c858ead29ed48558cc00394149756b9
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spelling	oai:doaj.org-article:9c858ead29ed48558cc00394149756b92021-12-03T09:22:14ZSize Matters: Walton Fords Promiscuous New World Grammatology in Chingado (1998)10.23692/imex.5.22193-9756https://doaj.org/article/9c858ead29ed48558cc00394149756b92014-01-01T00:00:00Zhttps://www.imex-revista.com/size-matters/https://doaj.org/toc/2193-9756In his painting Chingado (1998), US-American artist Walton Ford undertakes an interspecies queering of modern Mexico’s origin myth. Using the visual protocols of early 19th-century natural history artists, Ford presents the colonial clash of cultures as animal allegory. With a focus on the ‘ink and pencil part’ of the painting, i.e. the rich scriptural marginalia surrounding the figures of a bull and a jaguar in lethal embrace, this article addresses the ‘writerly imagination’ patent in Chingado. As both its title and pictorial focus point toward the trope of the Spanish conquest conceived of as a rape, Ford appears to engage critically with the authoritative voice of Octavio Paz, whose essay El laberinto de la soledad (1950) laid out a quasi-catechetic status for the taboo word ‘chingar’ and established special mytho-historical resonances for its passive participle in the feminine mode (‘chingada’). With a more creaturely and bio-centric approach altogether, Ford avoids Paz’s notorious bias not only in terms of gender and ethnicity; the remarkable attention to native Mesoamerican script traditions in Chingado – recalling, in terms of possible literary affinities, Borges’s subtly Americanist story "La escritura del dios" (1949) – can be regarded as a salute to non-Western forms of cosmovision and agency.Claudia LeitnerProf. Dr. Vittoria Borsò, Prof. Dr. Frank Leinen, Jun.-Prof. Dr. Yasmin Temelli, Prof. Dr. Guido Ringsarticleanimal allegoryconquestecocriticismwriting systemszapatista revoltLanguage and LiteraturePENESiMex. México Interdisciplinario/Interdisciplinary Mexico, Vol 3, Iss 5, Pp 14-32 (2014)
institution	DOAJ
collection	DOAJ
language	EN ES
topic	animal allegory conquest ecocriticism writing systems zapatista revolt Language and Literature P
spellingShingle	animal allegory conquest ecocriticism writing systems zapatista revolt Language and Literature P Claudia Leitner Size Matters: Walton Fords Promiscuous New World Grammatology in Chingado (1998)
description	In his painting Chingado (1998), US-American artist Walton Ford undertakes an interspecies queering of modern Mexico’s origin myth. Using the visual protocols of early 19th-century natural history artists, Ford presents the colonial clash of cultures as animal allegory. With a focus on the ‘ink and pencil part’ of the painting, i.e. the rich scriptural marginalia surrounding the figures of a bull and a jaguar in lethal embrace, this article addresses the ‘writerly imagination’ patent in Chingado. As both its title and pictorial focus point toward the trope of the Spanish conquest conceived of as a rape, Ford appears to engage critically with the authoritative voice of Octavio Paz, whose essay El laberinto de la soledad (1950) laid out a quasi-catechetic status for the taboo word ‘chingar’ and established special mytho-historical resonances for its passive participle in the feminine mode (‘chingada’). With a more creaturely and bio-centric approach altogether, Ford avoids Paz’s notorious bias not only in terms of gender and ethnicity; the remarkable attention to native Mesoamerican script traditions in Chingado – recalling, in terms of possible literary affinities, Borges’s subtly Americanist story "La escritura del dios" (1949) – can be regarded as a salute to non-Western forms of cosmovision and agency.
format	article
author	Claudia Leitner
author_facet	Claudia Leitner
author_sort	Claudia Leitner
title	Size Matters: Walton Fords Promiscuous New World Grammatology in Chingado (1998)
title_short	Size Matters: Walton Fords Promiscuous New World Grammatology in Chingado (1998)
title_full	Size Matters: Walton Fords Promiscuous New World Grammatology in Chingado (1998)
title_fullStr	Size Matters: Walton Fords Promiscuous New World Grammatology in Chingado (1998)
title_full_unstemmed	Size Matters: Walton Fords Promiscuous New World Grammatology in Chingado (1998)
title_sort	size matters: walton fords promiscuous new world grammatology in chingado (1998)
publisher	Prof. Dr. Vittoria Borsò, Prof. Dr. Frank Leinen, Jun.-Prof. Dr. Yasmin Temelli, Prof. Dr. Guido Rings
publishDate	2014
url	https://doaj.org/article/9c858ead29ed48558cc00394149756b9
work_keys_str_mv	AT claudialeitner sizematterswaltonfordspromiscuousnewworldgrammatologyinchingado1998
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Size Matters: Walton Fords Promiscuous New World Grammatology in Chingado (1998)

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