ARTAUD: NOTES FOR AN EPIDEMIOLOGY

2012

In his article Artaud\u27s Journey to Mexico and His Portrayals of the Land Tsu-Chung Su examines Artaud\u27s visions, visualizations, descriptions, and conceptualizations of Mexico. Su argues that Artaud\u27s writings about Mexico were his textual appropriations and cartographical remappings of the land. They embodied both the geographic wandering of his itinerary and the bodily spasms of his thought. At once geographical and psycho-physiological embodiments, they were not only texts of a questing spirit but also words of a schizophrenic mind. While tracing and mapping Artaud\u27s deterritorialized wanderings in cultures, religions, and rituals of Mexico, Su aims to explore the interlinking relationships among Artaud\u27s experience of revolution and esoteric rituals in Mexico, his utter disillusionment with the European culture, his Theatre of Cruelty vision, and his strong abhorrence against the electric shock treatment as well as the incarceration at the Rodez asylum

Antonin Artaud was one of the first internationally recognized writers to introduce the indigenous Tarahumara (Rarámuri) of Northwest Mexico to the world. In a series of publications based on his experiences with the tribe in 1936, Artaud left a vast visual legacy that positioned the Tarahumara within a powerful regime of representation, one that framed them within a mixed landscape of exoticism, primitivism, and peyote-inspired mysticism. This paper focuses on these literary works and interrogates the veracity of Artaud’s experiences and observations among the “pure race.” Drawing on the ethnographic record of the twentieth century and anthropological field research, it is my intention to reveal Artaud’s ability to fabricate, exaggerate, and embellish “the truth” which he so desperately desired to understand.

Papers of Surrealism, 2005

As Dawn Ades has stated, 'The intersections between surrealism and art in Mexico are numerous, intimate and contentious.' 1 These latter two qualities certainly characterise the creative collaboration between Antonin Artaud and the Mexican painter María Izquierdo during Artaud's visit to Mexico in 1936. While Artaud's interest in and writing on Izquierdo's painting has barely registered within the prolific studies of his work, the interaction between the two is continually noted in contemporary accounts of Izquierdo's career. The connection between Artaud and Izquierdo has not, however, received any in-depth analysis. In order to investigate this significant intersection between surrealism and art in Mexico, this paper follows the voyage of a painting by Izquierdo called Consolation, from its inception and reception in 1933 as a work of indigenist, nationalist significance within post-revolutionary Mexico, through its inclusion in an exhibition of Izquierdo's work organised by Artaud in Paris in 1937, to its categorisation as 'art brut' in a surrealist collection of manuscripts and artworks. The recent exhibition Kahlo's Contemporaries, Mexico: women: surrealism at the

The Americas, 2010

2014

In circa 1550, an indigenous mapmaker painted a watercolor of viceregal Mexico City and its environs. The Uppsala Map has long been a source for examining social life in the Basin of Mexico, yet its description of the city has been one less studied. This essay scrutinizes the mapmaker's graphic commentary on the viceregal capital. In particular, it studies how a narrative figure's corporeal expressions and optic interest presented the city for examination. A formal analysis of the map suggests that the city's traza (urban plan) was not spatially unitary, a point underscored by the actas de cabildo, or municipal decrees, mandated. These demonstrate anxiety over spatial irregularity, which in the opinion of the city council threatened the city's policía (the virtue of living a Christian way of life within an ordered settlement). Lastly, this essay situates the Uppsala Map within the cartographic milieu of the Spanish Atlantic world through a study of cartographic elements that closely resemble those found in Alonso de Santa Cruz's 1542 world map.

Comparative Studies in Society and History, 2002

is known for portraying the moral world of peasants, showing how they have resisted the encroachment of capitalism and the state. Now he investigates the other side: the experts, bureaucrats, and revolutionaries whose grandiose schemes to improve the human condition have inflicted untold misery on the twentieth century. Seeing Like a State can be read, along with Foucault's Discipline and Punish and James Ferguson's The Anti-Politics Machine, as a classic of "structural dysfunctionalism." The point (put metaphorically) is not merely that the cure for social ills has proven inadequate-but that the disease inhered in the diagnosis, and that failure will continue so long as the doctors prevail.

Cr: The New Centennial Review, 2002

La pensée métisse. By Serge Gruzinski. Paris: Fayard, 1999          ologically to the well-worn subject of the "conquest" and "discovery" of the New World? What could a study of Mexican sixteenth-century frescos by a French historian possibly have to add to current debates on "multiculturalism," cultural studies, and identity politics in the United States?

Revista Canadiense de Estudios Hispánicos, 2015