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Journal articles on the topic 'Mexican American folklore'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Vélez-Ibáñez, Carlos G., Phillip B. (Felipe) Gonzales, Luis F. B. Plascencia, and Jesús Rosales. "Interrogating the Ethnogenesis of the Spanish and Mexican “Other”." Aztlán: A Journal of Chicano Studies 44, no. 2 (2019): 41–76. http://dx.doi.org/10.1525/azt.2019.44.2.41.

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This essay interrogates early New Mexican folklore through the cultural position of the folklorist Aurelio M. Espinosa and his general avoidance of most things Mexican regarding New Mexico. We consider how Espinosa and some of his students associated local materials with Spain within the context of the simultaneous rise of an essentialist political-cultural position in support of a “Spain only” identity. Additionally, we interrogate representations of New Mexican folklore as unfettered transmissions from Spain to New Mexico. We argue for the emergence of a type of political and cultural ethnog

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Vélez-Ibáñez, Carlos G., Phillip B. (Felipe) Gonzales, Luis F. B. Plascencia, and Jesús Rosales. "Interrogating Early New Mexican Folklore y Lo Mexicano." Aztlán: A Journal of Chicano Studies 44, no. 2 (2019): 77–103. http://dx.doi.org/10.1525/azt.2019.44.2.77.

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Central to this work is the premise that, as in archaeology, which seeks to resurrect material culture from anonymity into light to become analytically signified as a historical creation, so too should the work of José Agapito Olivas be revealed, discussed, and presented from the forgotten consciousness of the human record, out from the dusty bins of New Mexican archives. We treat the written achievements of Olivas as part of the broadly conceived anthropological, sociological, literary and historical record. They offer insights into the quotidian realities of populations caught in the midst o

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3

Sanchez, Ramon. "Mexican-American Folklore by John O. West." Western American Literature 24, no. 3 (1989): 274–75. http://dx.doi.org/10.1353/wal.1989.0036.

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4

Lamadrid, Enrique R. "Aurelio Macedonio Espinosa's “Great(er) Spain”: The Snares of Querencia and the Pitfalls of Cultural Nationalism and Fundamentalist Hispanismo." Journal of American Folklore 136, no. 542 (2023): 413–32. http://dx.doi.org/10.5406/15351882.136.542.03.

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Abstract Aurelio Macedonio Espinosa (1880–1958) studied Hispanic folklore in the American Southwest, Spain, and Spanish America. His research foregrounds Spanish language, verbal arts, and culture of the people of greater New Mexico (New Mexico and southern Colorado). Three decades into an energetic career of fieldwork, research, and teaching, Espinosa allied himself with Spanish Nationalism, largely motivated by his religious beliefs. His foundational work in linguistics and dialectology endures, but his contributions to US folklore studies have been largely erased. Critics condemn his insist

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Voronchenko, Tatiana V., Svetlana G. Korovina, and Ekaterina V. Fyodorova. "Russian cultural code in the polylogue of cultures of the Russian-Chinese and Mexican-American borderland." Philological Sciences. Scientific Essays of Higher Education 2, no. 6 (2021): 168–75. http://dx.doi.org/10.20339/phs.6-21.168.

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The article deals with the elements of Russian cultural code in folklore and literary works of the Russian-Chinese and Mexican-American borderlands. The object of the study is the texts united by the topos of the border. The borderland is considered as the place of the most intense interaction of cultures. The authors focus on the features of the polylogue of cultures at specific loci: Trekhrechye, Northern China (right bank of the border river Argun); California and Baja California (Mexican-American border) — historically marked by the “Russian presence”. These loci are characterized by lingu

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MacGregor-Villarreal, Mary, and John O. West. "Mexican-American Folklore: Legends, Songs, Festivals, Proverbs, Crafts, Tales of Saints, of Revolutionaries, and More." Western Folklore 50, no. 4 (1991): 438. http://dx.doi.org/10.2307/1499680.

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7

Schriber, Abbe. "Mapping a New Humanism in the 1940s: Thelma Johnson Streat between Dance and Painting." Arts 9, no. 1 (2020): 7. http://dx.doi.org/10.3390/arts9010007.

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Thelma Johnson Streat is perhaps best known as the first African American woman to have work acquired by the Museum of Modern Art. However, in the 1940s–1950s she inhabited multiple coinciding roles: painter, performer, choreographer, cultural ethnographer, and folklore collector. As part of this expansive practice, her canvases display a peculiar movement and animacy while her dances transmit the restraint of the two-dimensional figure. Drawing from black feminist theoretical redefinitions of the human, this paper argues that Streat’s exploration of muralism, African American spirituals, Nati

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Tatiana V., Voronchenko. "Border Loci in Historical and Cultural Context: Geopoetics of Border (Based on Literature and Folklore of Russian-Chinese and Mexican-American Borderlands)." Humanitarian Vector 17, no. 3 (2022): 47–58. http://dx.doi.org/10.21209/1996-7853-2022-17-3-47-58.

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The article deals with the phenomenon of border in changing historical reality of two distant territories, that is important today due to the increasing interest in “border studies” as a new interdisciplinary scientific field that combines history, geography, political science and philological research at the turn of 21st century. The study involves folklore and literary works, the plots of which are localized on the borders between Russia and China: the South-East of Siberia and the Far East (Transbaikalia), the USA and Mexico: the U. S. South-West (New Mexico, Texas, California). The purpose

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Chtioui, Nadia. "Holistic Consciousness in Chicana Feminist Thought." International Journal of English Literature and Social Sciences 7, no. 4 (2022): 136–41. http://dx.doi.org/10.22161/ijels.74.20.

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As Holism has evolved as a new area of perception, analysis and approach different sets of disciplines become involved in it to come up with new visions and thoughts. In this realm, feminist studies with their various tendencies and concerns share certain principles, yet they differ in others. Chicana feminism, as the construction of feminist aims of the Mexican American women, embraces new concepts and views towards the assertion of the colored woman identity who is different from the white/Anglo American woman. The call for the building up of such a consciousness carries within much cultural

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10

Crumrine, N. Ross. "Perspectives in Mexican American Studies, Volume 1: Readings in Southwestern Folklore; Old Villages and A New Town: Industrialization in Mexico; The Zinacantecos of Mexico: A Modern Maya Way of Life:Perspectives in Mexican American Studies, Volume 1: Readings in Southwestern Folklore.;Old Villages and A New Town: Industrialization in Mexico.;The Zinacantecos of Mexico: A Modern Maya Way of Life." Latin American Anthropology Review 3, no. 2 (1991): 76–77. http://dx.doi.org/10.1525/jlat.1991.3.2.76.2.

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11

Halperin, Laura. "Not No Rapunzel." Meridians 19, no. 2 (2020): 323–47. http://dx.doi.org/10.1215/15366936-8308420.

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Abstract In this article, Laura Halperin reads Chicana writer Sandra Cisneros’s The House on Mango Street as a disidentificatory, revisionist, and intersectional collection of fairy tales. Halperin builds on critical scholarship about The House on Mango Street and fairy tales and inflects a U.S. Third World feminist analysis by examining how the narrative draws attention to the ways gender, sexuality, race, ethnicity, and class are entwined. Rather than view the text as an outright rejection of the dubious premises and promises provided by fairy tales—individualist, (hetero)sexist, classist, a

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Crumrine, N. Ross. "Perspectives in Mexican American Studies, Volume 1: Readings in Southwestern Folklore; Old Villages and A New Town: Industrialization in Mexico; The Zinacantecos of Mexico: A Modern Maya Way of Life." Latin American Anthropology Review 3, no. 2 (2009): 76–77. http://dx.doi.org/10.1525/jlca.1991.3.2.74-i1.

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13

Herrera-Sobek, Maria. "FOLKLORE AND ETHNO-NATIONALISM IN MEXICAN AMERICAN LITERARY PRODUCTION. ADAPTATION AND TRANSFORMATION OF INDIGENOUS FOLK ICONS IN THE CHICANO MOVEMENTFOLKLORA IN ETNO-NACIONALIZEM V MEHIŠKOAMERIŠKI LITERARNI PRODUKCIJI: PRILAGODITEV IN PREOBLIKOVANJE DOMAČINSKIH IKON V ČIKANSKEM GIBANJU." Traditiones 40, no. 3 (2011): 131. http://dx.doi.org/10.3986/traditio2011400309.

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14

Knight, Alan. "The Peculiarities of Mexican History: Mexico Compared to Latin America, 1821–1992." Journal of Latin American Studies 24, S1 (1992): 99–144. http://dx.doi.org/10.1017/s0022216x00023804.

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This is a piece of comparative history, not an exercise in folkloric whimsy. It does not attempt to probe the secrets oflo mexicano, la mexicanidad, or any of the other quasi-metaphysical concepts which litter the field of Mexican cultural history.1Nor does it pay too much attention to those more positivistic analyses which try to encapsulate Mexican (political) culture in terms of statistical comparisons.2Rather, it offers some comparative generalisations about Mexican history in the national period, stressing both broad patterns of socio-economic development and specific politico-cultural fa

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15

Gardea, Jessica, Laura Rios, Rituraj Pal, Jorge L. Gardea-Torresdey, and Mahesh Narayan. "From Folklore to Molecular Pharmacophores: Cultivating STEM Students among Young, First-Generation Female Mexican-Americans." Journal of Chemical Education 88, no. 1 (2011): 41–43. http://dx.doi.org/10.1021/ed100557u.

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16

Trombold, John. "Américo Paredes's Development of a Border Outlaw." Prospects 24 (October 1999): 249–59. http://dx.doi.org/10.1017/s0361233300000363.

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In their considerations of Chicanola border poetry and narrative, Gloria Anzaldúa, Guillermo Gómez-Peña, and José David Saldívar have suggested that the cultural condition of the border writer addresses central concerns of contemporary American culture and what one can regard — as I try to do here — as its aspiring cultural outlaws. In the context of their postmodern approaches to culture the notion of the American frontier outlaw has a rather archaic ring, for such an identity recalls 19th–century constructions of self and an underlying belief in individual agency. Even in the 1930s the figur

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17

González, Juan Pablo. "Editorial." Contrapulso - Revista latinoamericana de estudios en música popular 4, no. 1 (2022): 1–3. http://dx.doi.org/10.53689/cp.v4i1.152.

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 Los números de comienzo de año de Contrapulso son de temática libre dentro del amplio campo multidisciplinario de los estudios en música popular en América Latina que nos convoca. Los de mediados de año, en cambio, están orientados hacia temáticas específicas dentro de este campo, como han sido los dedicados a “Música y sexualidad” (2019), “Música y política” (2020), “Voces y vocalidades” (2021), y “Música, sentimientos y afectos”, dosier convocado para el próximo número (2022) https://contrapulso.uahurtado.cl/index.php/cp/announcement En algunos casos, un dosier puede irradiar su

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18

Louzao Villar, Joseba. "La Virgen y lo sagrado. La cultura aparicionista en la Europa contemporánea." Vínculos de Historia. Revista del Departamento de Historia de la Universidad de Castilla-La Mancha, no. 8 (June 20, 2019): 152. http://dx.doi.org/10.18239/vdh_2019.08.08.

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RESUMENLa historia del cristianismo no se entiende sin el complejo fenómeno mariano. El culto mariano ha afianzado la construcción de identidades colectivas, pero también individuales. La figura de la Virgen María estableció un modelo de conducta desde cada contexto histórico-cultural, remarcando especialmente los ideales de maternidad y virginidad. Dentro del imaginario católico, la Europa contemporánea ha estado marcada por la formación de una cultura aparicionista que se ha generadoa partir de diversas apariciones marianas que han establecido un canon y un marco de interpretación que ha ali

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19

Feize, Leyla, Denise A. Longoria, and Alfredo Fernandez. "Employing Mexican American Folklore as an Educational Tool to Teach Cultural Competence." Journal of Hispanic Higher Education, April 22, 2019, 153819271984153. http://dx.doi.org/10.1177/1538192719841531.

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20

Camilo Arias. "Camilo Arias - Master Research Last Sand." Royal Conservatoire Research Portal, no. 1 (July 19, 2023). http://dx.doi.org/10.22501/koncon.1835869.

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While the commercial musical stream of "Latin American Baroque" has been associated with musical cross-breeding, the study of the colonial repertoire that composes it documents quite the opposite: the absence of non-European musical features. By accepting the impossibility to find the written "Mestizo Baroque", this research chooses to "re-imagine it" from orality. Taking the Fandango musical family as a framework, this research enters into playful dialogues between the XVIII century European fandango and its surviving folklore counterparts: the Mexican Son Huasteco and the Colombo-Venezuelan

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21

Wertzberger, Eileen Montalvo, Ana Lucia Rossi Mendonca, Olga Elizabeth Minchala Buri, Latania Marr y Ortega, and Kay Ann Taylor. "“Women Who Wail”: An auto-ethnographic study of four Latina educators and the heroínas who shaped their understanding of critical pedagogies." Cuadernos del Centro de Estudios de Diseño y Comunicación, no. 117 (September 23, 2020). http://dx.doi.org/10.18682/cdc.vi117.4289.

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The lore of La Llorona, the woman who wails, is a pervasive archetype in Latin American cultures. While stories vary by country and region, the most common telling is associated with Mexican folklore, in which an anguished woman cries for her drowned children—in some retellings, their death results from her murderous rage at being betrayed by her lover; in others their deaths result from an accident. These stories have traditionally served as cautionary tales, often positioning Latinas as tragic forces within their communities (Morales, 2010); however, Chicana scholars have reconceptualized La

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22

Liu, Fan, and Huamin Wang. "From Auspicious Patterns to Classical Symbols: The Production and Diffusion of Chinese Bird Motifs in Mexican Folk Art." Journal of Ancient Chinese Arts and Crafts, 2025, 1–15. https://doi.org/10.59528/ms.jacac2025.0406a9.

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Auspicious motifs evolved from nature worship and totemic beliefs into symbolically rich graphic signs that served cognitive, communicative, and social compartmentalization functions. Between 1573 and 1815, bird motifs from Chinese auspicious designs were introduced to Mexico through Chinese blue and white porcelain exported to the Americas. These motifs became associated with Mexican indigenous cultures, first appearing in the tin-glazed pottery of Talavera, Puebla. They were later widely used in native lacquerware, textiles, and other folk art, symbolizing nobility and exoticism. Over time,

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23

Allatson, Paul. "The Virtualization of Elián González." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2449.

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For seven months in 1999/2000, six-year old Cuban Elián González was embroiled in a family feud plotted along rival national and ideological lines, and relayed televisually as soap opera across the planet. In Miami, apparitions of the Virgin Mary were reported after Elián’s arrival; adherents of Afro-Cuban santería similarly regarded Elián as divinely touched. In Cuba, Elián’s “kidnapping” briefly reinvigorated a torpid revolutionary project. He was hailed by Fidel Castro as the symbolic descendant of José Martí and Che Guevara, and of the patriotic rigour they embodied. Cubans massed to deman

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Ensminger, David Allen. "Populating the Ambient Space of Texts: The Intimate Graffiti of Doodles. Proposals Toward a Theory." M/C Journal 13, no. 2 (2010). http://dx.doi.org/10.5204/mcj.219.

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In a media saturated world, doodles have recently received the kind of attention usually reserved for coverage of racy extra marital affairs, corrupt governance, and product malfunction. Former British Prime Minister Blair’s private doodling at a World Economic Forum meeting in 2005 raised suspicions that he, according to one keen graphologist, struggled “to maintain control in a confusing world," which infers he was attempting to cohere a scattershot, fragmentary series of events (Spiegel). However, placid-faced Microsoft CEO Bill Gates, who sat nearby, actually scrawled the doodles. In this

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25

Scantlebury, Alethea. "Black Fellas and Rainbow Fellas: Convergence of Cultures at the Aquarius Arts and Lifestyle Festival, Nimbin, 1973." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.923.

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All history of this area and the general talk and all of that is that 1973 was a turning point and the Aquarius Festival is credited with having turned this region around in so many ways, but I think that is a myth ... and I have to honour the truth; and the truth is that old Dicke Donelly came and did a Welcome to Country the night before the festival. (Joseph in Joseph and Hanley)In 1973 the Australian Union of Students (AUS) held the Aquarius Arts and Lifestyle Festival in a small, rural New South Wales town called Nimbin. The festival was seen as the peak expression of Australian countercu

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