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Journal articles on the topic 'Chicano'

Author: Grafiati

Published: 4 June 2021

Last updated: 23 February 2023

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1

Vasquez, Kristian E., Juan De Dios Pacheco Marcial, Karla Larrañaga, and Verónica Mandujano. "A Love Letter to Chicanx Studies." Ethnic Studies Review 44, no. 3 (2021): 49–57. http://dx.doi.org/10.1525/esr.2021.44.3.49.

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The authors share their joint “love letter” to the field of Chicanx Studies, originally presented during the National Association for Chicana and Chicano Studies (NACCS) conference on April 14, 2021. This collection reflects on the successes, promise, and still deferred promise of a fully realized Chicanx Studies. They focus on the value of a graduate program and training in Chicanx Studies, the need for their work to be engaged in community struggle, the potentials of increased numbers of Chicanx Studies trained scholars, and their personal connections and challenges as graduate students of this field.

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2

Staten, Henry. "Ethnic Authenticity, Class, and Autobiography: The Case of Hunger of Memory." PMLA/Publications of the Modern Language Association of America 113, no. 1 (January 1998): 103–16. http://dx.doi.org/10.2307/463412.

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Richard Rodriguez's autobiographical Hunger of Memory (1982) is assigned to Chicano-Chicana literature because the book tells a story of growing up the child of Mexican immigrants, but Rodriguez rejects the term Chicano for himself and denies that it is possible or desirable for Americans of Mexican descent to retain an identification with their culture of origin. Rodriguez has been widely criticized as a sellout to white bourgeois culture, but his life narrative shows that his rejection of Chicano identity is rooted in the class-and-race ideology of his Mexican parents and thus in the contradictions of Mexican history. Chicano-Chicana nationalism assumes a simple dichotomy between the proletarian mestizo or mestiza and the bourgeois white oppressor. Rodriguez's family history, however, points toward race and class divisions within the population of Mexican descent that call into question the monolithic conceptions of Chicano-Chicana identity on the basis of which Rodriguez has been attacked.

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3

Soldatenko, Michael. "Perspectivist Chicano Studies, 1970-1985." Ethnic Studies Review 19, no. 2-3 (June 1, 1996): 181–208. http://dx.doi.org/10.1525/esr.1996.19.2-3.181.

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This essay examine the development and failure of Perspectivist Chicano Studies. By the late 1960s Chicano(a) academics constructed several views of Chicano Studies. Not all Chicanos(as) followed El Plan de Santa Barbara nor interpreted it in the same manner; several expressions of Chicano Studies existed. This essay traces one such articulation through the writings of Romano and Carranza who develop perspectivism. In the academy the writings of Rodriguez and Rocco manifest Perspectivist Chicano Studies. Moreover in the writings of Atencio and the activists of Hijos del sol we encounter a non-academic expression of this view of Chicano Studies. The essay ends with the failure of Perspectivist Chicano Studies to challenge the rise of an empirical driven Chicano Studies.

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4

Martín-Rodríguez, Manuel M. "Recovering Chicano/a Literary Histories: Historiography beyond Borders." PMLA/Publications of the Modern Language Association of America 120, no. 3 (May 2005): 796–805. http://dx.doi.org/10.1632/003081205x63868.

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This article underscores the need to reconstruct Mexican American literary historiography by locating and analyzing pre–Chicano/a movement critical sources. Consideration of how Mexican Americans saw their literature at different junctures in the past will ensure that we do not impose our own aesthetic and political criteria as we reinterpret older texts. I analyze a 1959 literary history of New Mexico and Colorado in order to explore how a recovery of this particular text would intervene in current debates in the field of Chicana/o studies, most prominently the tension between nationalism and regional studies, on the one hand, and transnationalism, on the other. My analysis demonstrates that Mexican Americans and Chicanos/as have shared literary tastes and cultural capital with other Latinas/os and Latin Americans and that consequently Chicano/a literary history should be a discipline that goes beyond borders.

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5

Karayalçın, Özge. "Pueblos Silenciosos/Silent Comunities: Within the Grain, Against the Grain." CINEJ Cinema Journal 5, no. 2 (October 11, 2016): 147–55. http://dx.doi.org/10.5195/cinej.2016.142.

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Born in East L.A.This article is an attempt to map in general sense the origins and development of the Chicano movement in The United States. The reason why a term like’’Chicano/-a’’ was coined and what it means politically, socially, economically and also is going to be discussed in depth. The term Chicano or Chicana (also spelled Xicano or Xicana) was coined to characterize Latinos as American born, but originally based in Mexico. Filmed in 1987, the movie ‘’Born in East L.A.’’ is a cultural representation of Xicanos, that’s why this movie has become a great source for me to fill the term ‘’Chicano/-a’’ to form the basis for my assignment and be able to be more open in terms of elucidating the new identity called ‘’chicano’’today.

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6

Jackson, Carlos Francisco. "Serigrafía." Boom 4, no. 1 (2014): 78–85. http://dx.doi.org/10.1525/boom.2014.4.1.78.

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This article presents imagery from “Serigrafía,” a traveling exhibition of some of the most prominent printmakers to have emerged from the Chicano movement and who helped to develop a Chicana/Chicano consciousness in California. Artists featured include Malaquias Montoya, Elena Huerta, Rene Mederos, Yolanda Lopez, and Ester Hernandez.

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7

Hernández, Roberto D. "It’s Not You, Nor Me…It’s All of Us or None of Us." Ethnic Studies Review 44, no. 3 (2021): 58–60. http://dx.doi.org/10.1525/esr.2021.44.3.58.

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Hernández, as the current chair of the National Association for Chicana and Chicano Studies (NACCS), reflects on the “Love Letter to Chicanx Studies.” The author affirms observances within the “letter,” including its considerations of the future of the field, and suggests that we enhance intergenerational knowledge sharing. Hernández presents a provocation on the ultimate goal of liberation as it relates to training and privileging scholars trained in Chicana/o/x Studies, and asks us to think more deeply about how we “do” the work and serve our communities. Finally, he asks that we recover our “Third world” subjectivities and reaffirm our commitment to struggles for shared liberation.

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8

Arboleda Toro, Andrés. "La traducción de la poesía multilingüe chicana al francés: un estudio de caso." Literatura: teoría, historia, crítica 19, no. 2 (July 1, 2017): 79–115. http://dx.doi.org/10.15446/lthc.v19n2.64045.

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Nuestro análisis crítico de la traducción de algunos poemas multilingües de Alurista incluidos en Vous avez dit Chicano (1993), primera antología de poesía chicana publicada en Francia, encontró tendencias de traducción etnocéntricas, en particular frente al problema de la hibridación lingüística del texto original. Condicionada por parámetros como la inteligibilidad y la aceptabilidad, y por una renuencia a la mezcla lingüística, actitud que estaba en sintonía con el proteccionismo lingüístico francés, concluimos que la traductora optó por una traducción monolingüe y estandarizada que falsea el texto e impide que el lector descubra su dimensión híbrida, tan esencial para Alurista y para los chicanos.

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9

Maciel, David R. "Visions of Aztlán: The Chicano Documentary Film." Revista Canaria de Estudios Ingleses, no. 81 (2020): 113–31. http://dx.doi.org/10.25145/j.recaesin.2020.81.08.

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In the decade of the 1960s and 1970s, a trascendental social movement –which was known as the Chicano Movement for Civil Rights– took place in the United States. One of its major achievements was a cultural flowering that encompassed all the art forms and practices. Among them, one of single importance is the documentary film. This article presents an overview of the origins, first steps and current developments of the Chicana/o documentary cinema. Such films address a multitude of topics and combine highly artistic value with a definite political message. In addition, the Chicana/o documentary is an outstanding and highly informative mirror into Chicano experience. Since its inception to the present, over 100 documentaries have been produced and exhibited in the US, yet they have not been well-distributed in the Spanish-speaking world.

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10

Ibarrán Bigalondo, Amaia. "A Chicano childhood experience." Journal of English Studies 2 (May 29, 2000): 51. http://dx.doi.org/10.18172/jes.57.

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The difficult social and cultural situation that the Chicano community has suffered after the signing of theTreaty of Guadalupe Hidalgo in 1848, has been overtly manifested in the Literature produced by its writers. Themes such as the social and economical conditions of the members of the Chicano community, schooling and housing, the situation of the workers in the fields, portrayals of the first organized political movements, family and domestic relationships etc., are widely found in the Literature written by Chicano authors. Chicanas, on their part, also use the novel for vindicatory purposes. Their body of Literature also deals with subjects that account for their constrained existence as members of an oppressed gender and ethnic group. The first Chicano novels are, in general terms, therefore, "adult" novels even though Monserrat Fontes¿ First Confession is one of the exceptions in which childhood and children's voices are portrayed in a novel, a thematic analysis of the novel demonstrates that many of the most recurrent themes of the female novel are present in this story.

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11

Torres Londoño, Fernando, and Manuela Ribeiro Cirigliano. "Tonantzin, Coatlicue e a Virgem de Guadalupe. Da continuidade híbrida à resistência na luta das Mulheres Chicanas." Mandrágora 26, no. 2 (December 8, 2020): 113–37. http://dx.doi.org/10.15603/2176-0985/mandragora.v26n2p113-137.

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Neste artigo, abordamos a Virgem de Guadalupe na condição de símbolo espiritual, como a chamou Gloria Anzaldúa. Iniciamos na mariologia que formatou o princípio constituinte do feminino na cultura náuatle, a deusa Coatlicue em Guadalupe. Partindo do culto de substituição imposto no Tepeyac, serão considerados os recursos presentes na invenção da devoção até a difusão do relato canônico das aparições. Depois, seguimos a feminista chicana Gloria Anzaldúa em sua vivência da fronteira física entre México e EUA e da fronteira simbólica do universo chicano e abordamos a ressignificação rebelde feita pelas lutas das chicanas que têm feito da Guadalupe uma virgem guerreira, ecoando autoras e artistas plásticas contemporâneas.

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12

Sáenz, Rogelio, and Alberto Davila. "Chicano Return Migration to the Southwest: An Integrated Human Capital Approach." International Migration Review 26, no. 4 (December 1992): 1248–66. http://dx.doi.org/10.1177/019791839202600408.

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This study uses an integrated human capital framework to examine the relationship between human capital, employment and ethnic factors and return migration to the Southwest among Chicanos. The sample used in the study is derived from the 1980 Public Use Microdata Samples and contains 1,926 Chicano householders between the ages of 25 and 64 who were born in one of five southwest states, lived outside of this region in 1975, and worked in the civilian labor force at any time between 1975 and 1980. The results suggest that various human capital, employment and ethnic composition variables are important predictors of Chicano return migration.

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13

BARRIGA, MIGUEL DÍAZ. "Vergüenza and Changing Chicano and Chicana Narratives." Men and Masculinities 3, no. 3 (January 2001): 278–98. http://dx.doi.org/10.1177/1097184x01003003004.

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14

Muñoz, Carlos. "The Chicano Movement: Mexican American History and the Struggle for Equality." Perspectives on Global Development and Technology 17, no. 1-2 (February 13, 2018): 31–52. http://dx.doi.org/10.1163/15691497-12341465.

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Abstract The Chicano/Chicana movement was a product of the global eruption that took place in 1968. A critical understanding of this movement requires that it be put into a historical context and theoretical framework of an indigenous people who were internally colonized by the expanding us Empire after the end of the us-Mexico War of 1846-48. Violent and nonviolent struggles took place prior to the 1960s over the issues of land, social justice, and civil rights. The first nonviolent and largest Mexican American mass protest in us history occurred in the Spring of 1968 in East Los Angeles, California, where over ten thousand Chicano high school students walked out of their inferior and racist barrio high schools. The student walkouts ignited the emergence of the Chicano civil rights movement. The movement’s positive contributions and failures will be discussed. Discussion will conclude with a critical analysis of Mexican American struggles in the present age of “Trumpism”.

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15

Peláez Rodríguez, Diana Carolina. "Hip hop chicana en Los Ángeles: saberes y luchas del barrio latino en femenino." Polisemia 12, no. 22 (August 31, 2017): 73–90. http://dx.doi.org/10.26620/uniminuto.polisemia.12.22.2016.73-90.

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El presente artículo de investigación realiza un acercamiento al mundo del hip hop chicana en la ciudad de Los Ángeles para ilustrar las motivaciones, estrategias y luchas de las mujeres que encuentran su latir particularmente en el rap. En primer lugar, se presenta una discusión sobre el hip hop chicano en la ciudad de Los Ángeles, su relevancia para la juventud del barrio postindustrial y la importancia de la producción femenina como elemento faltante para una representación más integral de esa experiencia. En segundo lugar, se profundiza en los conflictos que estas mujeres experimentan y las estrategias que desarrollan dentro de este movimiento cultural. Finalmente, se plantea la discusión del hip hop chicana como activismo. Los argumentos aquí presentados vienen acompañados de los testimonios recolectados en las entrevistas hechas a cinco raperas chicanas y algunos fragmentos de las letras de las canciones que ellas han escrito.

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16

Garcia, Nichole M., and Rebeca Mireles-Rios. "“You Were Going to Go to College”: The Role of Chicano Fathers’ Involvement in Chicana Daughters’ College Choice." American Educational Research Journal 57, no. 5 (December 11, 2019): 2059–88. http://dx.doi.org/10.3102/0002831219892004.

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Using pláticas, the sharing of cultural teachings through intimate and informal conversations, this article analyzes our personal college choice processes as Chicanas by examining the impact of being raised by Chicano college-educated fathers. Drawing on two theoretical frameworks, college-conocimiento, a Latinx college choice conceptual framework, and critical raced-gendered epistemologies, we demonstrate how intimate and informal conversations occur within our own Chicana/o daughter-father relationships in negotiating higher education and household contexts. Our analysis responds to the need to explore daughter-father relationships in higher education research. This work expands the college choice scholarship by moving beyond traditional models to examine the gendered and raced experiences of families of color, particularly focusing on how father involvement is associated with the college choice of daughters.

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17

Zetterman, Eva. "Claims by Anglo American feminists and Chicanas/os for alternative space: The LA art scene in the political 1970s." American Studies in Scandinavia 48, no. 1 (March 1, 2016): 61–83. http://dx.doi.org/10.22439/asca.v48i1.5361.

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Abstract: Originating in the context of the Civil Rights Movements and political activities addressing issues of race, gender and sexuality, the Women’s Liberation movement and the Chicano Movement became departures for two significant counter art movements in Los Angeles in the 1970s. This article explores some of the various reasons why Anglo American feminist artists and Chicana artists were not able to fully collaborate in the 1970s, provides some possible explanations for their separation, and argues that the Eurocentric imperative in visual fine art was challenged already in the 1970s by Chicana/o artists in Los Angeles. In so doing, the art activism by Anglo American feminists and Chicanas/os is comparatively investigated with Los Angeles as the spatial framework and the 1970s as the time frame. Four main components are discussed: their respective political aims, alternative art spaces, pedagogical frameworks and aesthetic strategies. The study found that the art activisms by Anglo American feminists and Chicanas/os differed. These findings suggest that a task ahead is to open up a dialogue with Chicana/o activist art, making space for more diverse representations of activities and political issues, both on the mainstream art scene and in the history of art.

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18

English, Dorette Quintana, and Rosa Linda Fregoso. "The Bronze Screen: Chicana and Chicano Film Culture." MELUS 20, no. 4 (1995): 125. http://dx.doi.org/10.2307/467899.

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19

Rowley, Cristina. "Chicano and Chicana Literature: Otra voz del pueblo." Social Science Journal 44, no. 1 (March 1, 2007): 205–7. http://dx.doi.org/10.1016/j.soscij.2006.12.022.

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20

Bixler-Márquez, Dennis J. "Spanish Mass Media in the United States." Language Problems and Language Planning 9, no. 2 (January 1, 1985): 91–104. http://dx.doi.org/10.1075/lplp.9.2.01bix.

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SUMARIO Medios másivos de difusión en espanol en los Estados Unidos: Implicaciones dialectales Este articulo explora la relation entre el uso y la preferencia de medios másivos de difusión en espanol por parte de la población chicana en Estados Unidos y su taza de asimiliación linguistica. Se presenta inicialmente el estado de los medios de difusión másivos en espanol en la nation. Después sigue un análisis del material existente sobre el uso y preferencia de los medios susodichos por parte del chicano. Se concluye lo siguiente: la sensibilidad de los medios másivos de difusión hacia el lenguaje y cultura chicana esta mejorando; los medios que cubren eventos locales y proveen information de carácter cultural son los que más han aumentado en numéro y circulation; el inglés y el espanol coexisten y compiten en los medios de difusión que rinden servicio a las comunidades chicanas; el espanol chicano desempena un roi pequeno pero vital para la creciente demanda de los medios de difusión en espanol; y finalmente, el espanol sigue en uso en las comunidades chicanas. Sin embargo, para medir adecuadamente la retención del espanol, se necesitan más investigaciones sobre su uso en diversas regiones y nivelés socioeconómicos. RESUMO Hispanaj amásmedioj en Usono: dialektaj implicoj Tiu ci artikolo esploras la rilaton inter la amásmedioj kaj la rapideco de lingva asimiligo de cikanoj. Unue oni prezentas la nunan staton de la hispanlingvaj amás-medioj en Usono. Sekvas trarigardo de esploroj pri la konservado de la hispana lingvo en rilato al amásmedia utiligo kaj prefero en cikanaj komunumoj. Oni konkludas jene: La kultura kaj lingva sentemo de la amásmedioj rilate cikanojn plibonigas; formoj de hispanlingvaj amásmedioj, kiuj plenumás lokajn informajn kaj kulturajn bezonojn, spertis plej rapidan kreskon; la anglalingvaj kaj hispanlingvaj amásmedioj kunekzistas kaj konkurencas en cikanaj komunumoj; la cikana hispana lingvo ludas malgrandan sed esencan rolon en la kreskanta sukceso de hispanlingvaj amásmedioj; kaj, fine, la hispana konservigas en cikanaj komunumoj, kvankam pliaj esploroj estas bezonataj koncerne la retenon de la hispana en diversaj formoj flanke de cikanoj en diversaj geografiaj kaj sociekonomiaj situoj.

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21

Saylan, Özlem. "Luis Valdez’in Seçilmiş Oyunlarında Chicano Kültürü Yansımaları." Göç Dergisi 7, no. 1 (May 12, 2020): 55–76. http://dx.doi.org/10.33182/gd.v7i1.670.

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Luis Valdez, tarım işçilerinden oluşturduğu tiyatrosunun temellerini Chicano kültürünü referans alan üç sacayağı üzerine kurmuştur: daha çok politik içerik taşıyan doğaçlama kısa oyun anlamına gelen actos, Maya ve Aztek mitoloji ve efsanelerini yansıtan mitos ve de oyuna müzik, şarkı ve dans yorumu getiren corridos. Bir Chicano kimliği yaratıp, Chicanoların öz kültürleri ile bugünkü yaşamlarını içselleştirebilmeleri Valdez’in oyunlarında yer alan temaların en çok öne çıkanlarından birisidir. Bu makalede, Valdez’in, Zoot Suit, Bandido! ve I Don’t Have to Show You No Stinking Badges! isimli seçilmiş üç oyunu ele alınmıştır. Bu oyunların incelenme nedeni, her birinin bir yandan toplumdaki Chicano önyargısını hicvederken, diğer yandan oluşturulmaya çalışılan Chicano kimliğinin şekillenmesine yardımcı olmasıdır. Bu amaç doğrultusunda Valdez’in neredeyse tüm oyunlarında, en az ana karakter kadar sahnede varlığına işaret edilen Chicano olmak “düşünce”sinin, “eylem”e dönüşümündeki süreç irdelenmektedir. Hâlihazırda var olan Chicano kimliğinin ve Chicano topluluğunun varlığını reddeden kesime tanıtılması halinde “varlık,” bir olgu olmaktan çıkıp bir eyleme yani “olay”a dönüşür. Bu bağlamda, tiyatro okuruna/izleyicisine, Chicano Tiyatrosu’nun Amerikan Tiyatrosundaki yerini özellikle sosyokültürel ve politik mesajlarla göstermeye çalışıldığı gözlemlenmektedir. ABSTRACT IN ENGLISH Reflections of Chicano Culture in Selected Plays of Luis Valdez Luis Valdez established his theater consisting of farm workers on a trivet, taking Chicano culture as a reference: actos improvised short play with more political content, mitos reflecting Maya and Aztec mythology and legends, and corridos bringing music, song, and dance interpretation in play. Creating a Chicano identity and internalizing their mother culture and present lives is one of the outstanding themes in Valdez’s plays. This paper discusses three of Valdes’s selected plays, Zoot Suit, Bandido!, and I Don’t Have To Show You No Stinking Badges!. The reason why these plays are analyzed is that each of them helps to shape the Chicano identity, while satirizing the Chicano bias in society. For this purpose, in almost all of Valdez’s plays, the process of transforming the “idea” of being Chicano, which is indicated at least as much as the protagonist’s presence on the stage, into “action” of becoming Chicano is scrutinized. In the case of introducing the already-existing Chicano identity and community to those who deny its existence, “being” turns from being a phenomenon into an “action”. In this regard, it is observed that it is tried to exhibit Chicano Theater’s place in the American Theater especially with sociocultural and political messages.

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22

Otto, Santa Ana A. "Chicano English evidence for the exponential hypothesis: A variable rule pervades lexical phonology." Language Variation and Change 4, no. 3 (October 1992): 275–88. http://dx.doi.org/10.1017/s0954394500000818.

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ABSTRACTGuy (1991) proposed a linkage between empirical linguistics, in the morphological constraints of /-t,d/ deletion, and formal linguistic theory, in lexical phonology. He hypothesized an explanation for the actual rate of deletion reported in /-t,d/ studies in the three-tier lexical phonology model (Kiparsky, 1979): namely, that an exponential relationship exists in the relative rate of deletion of /-t,d/ clusters in words, according to different morphological classes as described in the three-tier model. In this article, the hypothesis is tested in the English of 45 Chicanos from Los Angeles, which as a recently formed dialect provides an interesting test case in two respects. A major difference exists between the English of older and younger Chicanos involving the morphological classes associated with /-t,d/ deletion. Additionally, age grading of the /-t,d/ deletion process operates only among the younger speakers. Guy's model receives solid independent confirmation in the Chicano English data. These results simultaneously integrate the three-tier lexical phonology model, Guy's hypothesis, and the dialect-specific characteristics of Chicano English.

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23

Segura, Denise A. "Chicanas in White-Collar Jobs: “You Have to Prove Yourself More”." Sociological Perspectives 35, no. 1 (March 1992): 163–82. http://dx.doi.org/10.2307/1389373.

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Using the theoretical perspective originally developed by West and Zimmerman (1987)—wherein gender is viewed as a dynamic, interactional accomplishment rather than a categorical status, this article explores how both gender and race-ethnicity are reinforced and affirmed among 152 selected Chicana white-collar workers in a major public university. Based on results from a 1989–1990 mail survey and in-depth interviews with 35 randomly-selected respondents, I find that the tasks performed in the workplace, sex-and-race/ethnic discrimination and harassment, and the female-associated tasks Chicanas continue to do at home, all intensify their accomplishment of gender as well as reinforce occupational segregation by gender and gender-race/ethnicity. Moreover, Chicanas' attachment to family is linked ideologically to the survival of the Chicano culture, rendering their accomplishment of gender an overt act of racial-ethnic and cultural politics. This particular finding may well be a neglected truth in many women's lives.

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24

Pizarro, Marc, and Elizabeth M. Vera. "Chicana/o Ethnic Identity Research." Counseling Psychologist 29, no. 1 (January 2001): 91–117. http://dx.doi.org/10.1177/0011000001291004.

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Although Chicana/o ethnic identity has been studied extensively, the process of ethnic identity development and the relationship between ethnic identity and other aspects of social identity (such as racial identity) are still not well understood. This article presents a review of the research on Chicana/o ethnic identity, focusing on the early work on the National Chicano Survey, as well as more recent research with Chicana/o children, adolescents, and young adults. Important advances and shortcomings of this work are identified. The findings are discussed in the context of implications for researchers and counselors.

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25

Barone, T., and Heidi Connealy. "South Omaha Milagro: The History (And Anthropology) of the Indian Chicano Health Center." Practicing Anthropology 25, no. 1 (January 1, 2003): 22–25. http://dx.doi.org/10.17730/praa.25.1.f42q0324k4660405.

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You will learn about Indian and Chicano people and the problems they have. The experiences you have may strengthen your bigoted attitudes and make you a red neck or, as you become aware of the culture of poverty, you may develop a sensitivity to minority problems, which you will carry with you throughout your professional career. At times, when the frustration level at the Health Center is high, it is good to remember the following ideas. Indians, and to a lesser degree Chicanos, are where they are because paternalistic Anglo dogooders prevented them from controlling their own destinies… The things you will accomplish at the health center will be small, the rewards will be intangible and the frustrations will be high (Orientation document, Indian Chicano Health Center, 1972)

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26

Deluna, D. N., and Guillermo E. Hernandez. "Chicano Satire." MLN 108, no. 2 (March 1993): 381. http://dx.doi.org/10.2307/2904648.

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27

Daher. "Batman Chicano." Chiricú Journal: Latina/o Literatures, Arts, and Cultures 3, no. 2 (2019): 142. http://dx.doi.org/10.2979/chiricu.3.2.12.

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28

Deutsch, Sarah, Susan E. Keefe, and Amado M. Padilla. "Chicano Ethnicity." Western Historical Quarterly 19, no. 4 (November 1988): 460. http://dx.doi.org/10.2307/968334.

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29

Bruce-Novoa, Juan. "Chicano predicament." Index on Censorship 19, no. 1 (January 1990): 11. http://dx.doi.org/10.1080/03064229008534754.

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30

G.M.D. "Chicano Scholarship." Americas 42, no. 2 (October 1985): 249–50. http://dx.doi.org/10.1017/s0003161500051737.

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31

Campbell, Howard. "Chicano Lite." Journal of Consumer Culture 5, no. 2 (July 2005): 207–33. http://dx.doi.org/10.1177/1469540505053089.

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Jaen, Victoria. "Chicano Discrimination." Equity & Excellence in Education 24, no. 4 (September 1988): 21–22. http://dx.doi.org/10.1080/0020486870240408.

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Iber, Jorge, and Louis Gerard Mendoza. "Historia: The Literary Making of Chicana & Chicano History." Western Historical Quarterly 33, no. 4 (2002): 501. http://dx.doi.org/10.2307/4144786.

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34

Cantu, R. "Rewriting North American Borders in Chicano and Chicana Narrative." Modern Language Quarterly 64, no. 4 (December 1, 2003): 508–13. http://dx.doi.org/10.1215/00267929-64-4-508.

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35

Andrist, Debra D. "Chicana and Chicano Mental Health: Alma, Mente y Corazón." Social Science Journal 52, no. 1 (March 1, 2015): 84–85. http://dx.doi.org/10.1016/j.soscij.2014.12.006.

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36

Novoa, Bruce. "La poesía de Rita María Magdaleno: en busca del corazón materno." Latinoamérica. Revista de Estudios Latinoamericanos, no. 41 (April 2, 2005): 81. http://dx.doi.org/10.22201/cialc.24486914e.2005.41.57332.

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“La poesía de Rita María Magdaleno: en busca del corazónmaterno”. En su poemario Marlene Dietrich, Rita Hayworth, & My Mother(2003), Magdaleno, poeta chicana de Arizona, busca a su madre, un avatarde la Malinche. Los lectores reconocerán temas de la literatura chicana:la frontera como escenografía, el amor entre el conquistador y la mujernativa, la mujer embarazada, abandonada por el soldado extranjero. Sinembargo, esta temática sufre un enajenamiento revelador al trasladarsea Alemania. Después de la Segunda Guerra Mundial, el conquistador, unsoldado chicano de Arizona, se enamora de una adolescente alemana.Cuando no la lleva consigo a EEUU, ella, aunque indocumentada, losigue con la hija. El efecto se parece al Unheimlich de Freud, puesto aldía por Homi Bhabha. La reunión con su familia materna en 1989 guíaa Magdaleno a la historia del nazismo, una ideología que puede leersecomo un reflejo del nacionalismo cultural chicano. Al frustrarse la reunióncon su madre, Magdaleno logra un tipo de reencuentro en un subtexto demetáforas de la naturaleza.

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Loughrin, Sandra Marie. "Queer Chicano Families: The Importance of Converging Literature on Queer Families, Chicano Families, and Chicano Queers." Sociology Compass 9, no. 3 (March 2015): 224–34. http://dx.doi.org/10.1111/soc4.12244.

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38

Diaz-Kozlowski, Tanya. "The Power of Testimonio Pedagogy: Teaching Chicana Lesbian Fiction in a Chicana Feminisms Course at a Predominantly White Institution in the Midwest." Association of Mexican American Educators Journal 14, no. 2 (August 24, 2020): 124–44. http://dx.doi.org/10.24974/amae.14.2.365.

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In this essay I extend Chicana/Latina feminist pedagogies to demonstrate using testimonio pedagogy to teach Chicana lesbian fiction: Gulf Dreams and What Night Brings opened up dialogical spaces for students as pensadores to critically examine the impact of racialized gender and sexual normativity within Chicano culture. Exploring the significance of students as pensadores using testimonio pedagogy cultivates pathways of epistemic disobedience that should be understood as responses to institutional power. I suggest testimonio pedagogy mediates marginalization by breaking down the false dichotomy between students and teachers, cultivates feminist consciousness-raising, and refuses hegemonic conceptualizations of schooling.

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Daley, John Michael, Steven R. Applewhite, and James Jorquez. "Community Participation of the Elderly Chicano: A Model." International Journal of Aging and Human Development 29, no. 2 (September 1989): 135–50. http://dx.doi.org/10.2190/dw7y-3q43-6h8w-n4k7.

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The elderly Chicano comprise a population that is distinct in historical background, socialization patterns, coping mechanisms, and patterns of participation in community affairs. These distinctive characteristics have often been overlooked by community planners who know little about elderly Chicanos and assume that all their needs can be met by their families. Several strategies are proposed for the development of participatory processes and systems that take into account the reality of daily life in the barrio. Statistical data should be enriched by qualitative information for decision-making purposes: the calm rationality of one set of people discussing the problems of others should be balanced by the fire of people describing their own experiences.

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de la Torre, Renée, and Cristina Gutiérrez Zúñiga. "Chicano spirituality in the construction of an imagined nation: Aztlán." Social Compass 60, no. 2 (June 2013): 218–35. http://dx.doi.org/10.1177/0037768613481706.

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The authors focus on the creation, by Mexicans born in the United States, of an ‘imagined nation’ named Aztlán. Having arisen in the struggle of the Chicanos for recognition of their cultural citizenship, it has now found a new significance in the revival of an ancestral religiosity. This nation is based on the creation of a mythic spirituality with both political and cultural meanings. The authors analyze the symbolic efficacy for the Chicano population of various strategies: a) the construction of a symbolic lineage based on tradition and the experience of the Aztec Conchera dance, a syncretic ritual in popular Mexican Catholicism; b) a reproduction or reenactment of the founding myths of the Mexican nation as a way to legitimize the existence of a spiritual nation that spreads over both sides of the international border; c) the appropriation of territories where the Chicanos can practice their rituals.

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Davila, Richard Cruz. "Él Es Chicano?" Journal of Popular Music Studies 31, no. 4 (2019): 73–94. http://dx.doi.org/10.1525/jpms.2019.31.4.73.

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This article considers questions of authenticity in two versions of Doug Sahm's “Chicano”: Sahm's original, recorded with the Sir Douglas Band in 1973, and Rumel Fuentes's 1976 cover version. Some critics and listeners considered Sahm's original, written from a first-person Chicano perspective, a gaffe, since Sahm was in fact not Chicano; however, employing Allan Moore's notion of authenticity as authentication, I argue that Fuentes's cover version is at once an endorsement of Sahm's original and an authentication of it. To do so, I begin by elaborating Moore's three-part typology of authenticity, and how this typology recasts authenticity as authentication. I then place Sahm's appropriation of a Chicano identity within a longer history of racial crossing in American popular music before providing historical context for each artist, and for each version of the song. Finally, by discussing the two versions in terms of Moore's typology, I argue that the cover authenticates the original through what Moore calls second-person authenticity, which he describes as a validation of the listener's experience.

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Guijarro González, Juan Ignacio. "Río Grande, Bravo... y sangriento: Narcotráfico, violencia y frontera en Ask a Policeman, del novelista chicano Rolando Hinojosa." Anuario de Estudios Americanos 73, no. 2 (December 5, 2016): 517. http://dx.doi.org/10.3989/aeamer.2016.2.06.

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En su novela policíaca Ask a Policeman (1998), un escritor chicano de prestigio como Rolando Hinojosa se adentra en el reciente subgénero de la narcoliteratura para abordar no solo la violencia y el sadismo extremos que caracterizan dicho mundo criminal, sino también cuestiones como la realidad actual de la comunidad chicana, la función que la frontera entre México y Estados Unidos desempeña hoy día, o la relación entre las comunidades hispanohablantes de ambos países.

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MacDonald, Victoria-María, and Benjamin Polk Hoffman. "“CompromisingLa Causa?”: The Ford Foundation and Chicano Intellectual Nationalism in the Creation of Chicano History, 1963–1977." History of Education Quarterly 52, no. 2 (May 2012): 251–81. http://dx.doi.org/10.1111/j.1748-5959.2011.00390.x.

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In the early 1970s the first large cohorts of Chicano PhD scholars entered academia, often hired into faculty positions at newly created Chicano departments or centers. These Chicano scholars came after earlier pioneer Mexican-American historians such as Carlos Castañeda and George I. Sanchez at the University of Texas, Austin; Julian Samora of the University of Notre Dame; and Carlos Cortes of the University of California, Riverside. Instead, they came of age during the fluorescence of the Chicanomovimientoof the 1960s and 1970s. The academic identities of the first Chicano PhD scholars were firmly grounded inChicanismo, a term which emphasizes ethnic nationalism, political and economic equity, and cultural and community pride.

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Alvarez, Alma Rosa. "National Traitors In Chicano Culture and Literature: Malinche and Chicano Homosexuals." Ethnic Studies Review 20, no. 1 (January 1, 1997): 1–10. http://dx.doi.org/10.1525/esr.1997.20.1.1.

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This article examines the literary representation of a treatment of homosexuality in Mexican/Chicano culture. In this study, Alvarez argues that this cultural treatment is rooted in the gender paradigm central to Mexican/Chicano culture: the narrative of La Malinche.

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45

Gamboa, Manazar. "From "L.A. Chicano"." Chicago Review 41, no. 1 (1995): 67. http://dx.doi.org/10.2307/25305914.

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46

Belgrad, D. "Performing Lo Chicano." MELUS: Multi-Ethnic Literature of the United States 29, no. 2 (June 1, 2004): 249–64. http://dx.doi.org/10.2307/4141828.

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47

Vides Bautista, Uriel. "Arte queer chicano." Bitácora arquitectura, no. 34 (January 12, 2017): 126. http://dx.doi.org/10.22201/fa.14058901p.2016.34.58102.

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Garcia, Héctor Ramón. "Beholding Chicano History." Athanor 37 (December 3, 2019): 53–58. http://dx.doi.org/10.33009/fsu_athanor116673.

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I consider Chicano History an ideal mural to expand on the analysis of form and content considering that it reflects the time in which it emerged: a period of civil disobedience and social unrest in which art, and art making was utilized for social mobilization and people awakening in order to effect social change.

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Gonzales. "Chicano Studies Examined." Journal of American Ethnic History 31, no. 4 (2012): 69. http://dx.doi.org/10.5406/jamerethnhist.31.4.0069.

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50

Camarillo, Albert M., Ernesto Chávez, Natalia Molina, Miroslava Chávez-García, Raúl A. Ramos, and Alexandra Minna Stern. "Chicano/a History." Pacific Historical Review 82, no. 4 (November 2012): 495. http://dx.doi.org/10.1525/phr.2013.82.4.495.

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