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Journal articles on the topic 'Mexican Americans in popular culture'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Martinez, Theresa A. "Popular Culture as Oppositional Culture: Rap as Resistance." Sociological Perspectives 40, no. 2 (June 1997): 265–86. http://dx.doi.org/10.2307/1389525.

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Bonnie Mitchell and Joe Feagin (1995) build on the theory of oppositional culture, arguing that African Americans, American Indians, and Mexican Americans draw on their own cultural resources to resist oppression under internal colonialism. In this paper, rap music is identified as an important African American popular cultural form that also emerges as a form of oppositional culture. A brief analysis of the lyrics of political and gangsta rappers of the late 1980s and early 1990s, provides key themes of distrust, anger, resistance, and critique of a perceived racist and discriminatory society. Rap music is discussed as music with a message of resistance, empowerment, and social critique, and as a herald of the Los Angeles riots of 1992.

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RUIZ, JASON. "Desire among the Ruins: The Politics of Difference in American Visions of Porfirian Mexico." Journal of American Studies 46, no. 4 (November 2012): 919–40. http://dx.doi.org/10.1017/s0021875812001351.

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Travel to Mexico became instantly faster, smoother, and cheaper for Americans when workers finally linked US and Mexican rail lines in 1884. Following the opening of the international rail connection, Americans went south of the border in droves and produced a wide array of representations depicting Mexico under the dictatorship of Porfirio Díaz (1876–1911, a period known as the “Porfiriato”). Travelogues, picture postcards, stereographs, and magic-lantern slides with Mexican themes all circulated heavily in US popular culture during this time. This essay examines the politics of difference in these representations – chiefly travel writing and postcards – arguing that travelers and other observers played a crucial but overlooked role in popularizing the view of Mexico as a logical field for capitalist (and sometimes territorial) expansionism. By positioning Mexican bodies as both desirable and dangerous, I argue, the creators of travel discourse set the stage for contradictory and ambivalent views of Mexico that reverberate in the United States even today.

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Scheianu, Marius Adrian. "“The Good Neighbor’’ Policy and the Beginnings of Its Use in the Cinema of the ’30." Acta Marisiensis. Seria Historia 3, no. 1 (December 1, 2021): 55–68. http://dx.doi.org/10.2478/amsh-2021-0006.

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Abstract Cinema, the youngest of the arts, has been energetic and has quickly gained public attention and became soon, after its appearance in the last years of the 19th century, the most popular of the arts, introducing the audiences to images of the world around them. From the first years of the 20th century silent films with plots came into vogue, substituting the documentary style of filming presented to the viewers. In the United States of America, many of these films introduced American viewers to their nearby Mexican neighbors. Usually, the Mexican image, in film, was dominated by stereotypes deeply rooted in American culture. This habit of portraying the Mexicans as bandits or as displaying every vice that could be shown on the screen, by the American film industry began to change by the middle of the 1930s. One of the reasons for this change is the new approach to the foreign policy implemented by the administration of US President Roosevelt, against the background of overcoming challenges caused by The Great Depression. The first beneficiary of this benevolent attitude towards Latin America, was US’s closest neighbor, Mexico. Two American movies are relevant, during this period, for illustrating this policy in cinematography: Viva Villa (1934) and Juarez (1939). The two movies deal with aspects of Mexican history in a different way than in the past, the use of Mexico and Mexican history as a background for political comments on contemporary events, also demonstrating the role that the film industry has played as a vessel for carrying various messages from the political authorities to the public.

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Marta Marini, Anna. "The Hybridization Of The Noir Genre As Expression Of Ethnic Heritage: Rafael Navarro’s Sonambulo." Revista de Estudios Norteamericanos, no. 25 (2021): 137–61. http://dx.doi.org/10.12795/ren.2021.i25.07.

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In his ongoing comic book series Sonambulo, versatile artist Rafael Navarro has been able to channel his Mexican American cultural heritage by creating a unique blend of narrative genres. In his work, Navarro exploits classic American film noir as a fundamental reference and hybridizes it with elements distinctive to a shared Chicanx heritage, such as lucha libre cinema, horror folktales, and border-crossing metaphors; the construction of an oneiric dimension helps bring the narrative together, marking it with a peculiar ambiance. Drawing heavily on a diverse range of film genres, as well as ethnocultural pivots, this comic book series carves out a definite space in the panorama of the Mexican American production of popular culture, adding a powerful voice to the expression of US ethnic minorities.

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Marini, Anna Marta, and Enrique Ajuria Ibarra. "Gothic and the Ethnic Other: An Interview with Enrique Ajuria Ibarra." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 175–89. http://dx.doi.org/10.37536/reden.2022.3.1833.

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Enrique Ajuria Ibarra is a senior assistant professor and director of the PhD program in Creation and Culture Theory at the Universidad De Las Americas Puebla (Mexico) where he teaches courses on film, media, cultural studies, and literary theory. He specializes in visual culture, cinema studies, gothic and horror. He's the editor of the online journal Studies in Gothic Fiction published by the Cardiff University Press and he has published extensively on topics related to the Gothic, in particular focusing on transnational aspects and the Mexican context. Among his most recent publications there have been chapters in volumes such as 21st Century Gothic: An Edinburgh Companion (2019), Gothic Afterlives: Reincarnation of Horror in Film and Popular Media (2019), and Doubles and Hybrids in Latin American Gothic (2020).

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Gough, P. L. "Macias, Mexican-American Mojo: Popular Music, Dance, and Urban Culture in Los Angeles, 1935-1968." Oral History Review 38, no. 1 (February 15, 2011): 218–20. http://dx.doi.org/10.1093/ohr/ohr032.

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Nguyen, Shelbee, and Joellen E. Coryell. "Flipping the Script in Study Abroad Participation: The Influence of Popular Culture and Social Networks." Journal of International Students 5, no. 1 (January 1, 2015): 23–37. http://dx.doi.org/10.32674/jis.v5i1.440.

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This study explores primary perceptions of and motivations to study abroad for adult and higher education learners. A large Hispanic-serving Southwestern university serves as the context of this study where undergraduate students and one graduate student were enrolled in an Italian urbanism study abroad program. The age of the participants ranged from 20 to 47, with six males and 11 females (N = 17) for an average age of 25. Participants self-identified as Caucasian (35%), Asian (6%), Latino/a (24%), Middle-Eastern (6%), and Mexican-American (52) %. Semi-structured interviews assessed formative and influential messages impacting perceptions of and motivations to study abroad. Findings lend special importance to popular culture, peer networks within and outside the institution and socially constructed meaning made about study abroad. Limitations of this study are highlighted, along with implications and directions for future research.

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Bonilla, Mauricio Hernandez. "Reproducing Tradition: Everyday Public Space in Popular Neighbourhoods in Mexico." Open House International 31, no. 4 (December 1, 2006): 49–57. http://dx.doi.org/10.1108/ohi-04-2006-b0007.

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In Latin American cities a great part of the urban environment has grown through self-help processes leading to informal settlements. In the Mexican context, informal settlements are called “colonias populares” which means people’s or popular neighbourhoods. In the late 1960s Turner (1969) argued that popular neighbourhoods should be reconsidered as environments which are socially and culturally responsive to the needs of the inhabitants, as the architecture produced by low-income settlers is based on a system responsive to the changing needs and demands of the users. In these settlements the built environment is the result of the freedom available to inhabitants to take decisions and shape their own environment. This in turn gives place to a myriad of spatial expressions in which culture, identity and popular character are imprinted in both the private and public spaces. This paper explores these issues in the spaces between the dwellings in the public realm.

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Godina, Heriberto, and Cynthia Soto-Ramirez. "Emergent Gender Roles Within Tween Popular Culture: Perspectives From Mexican American Students in a Fifth-Grade Classroom." Journal of Latinos and Education 16, no. 2 (April 3, 2017): 98–109. http://dx.doi.org/10.1080/15348431.2016.1205990.

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Gutiérrez, Itzayana. "Remediating Kalimán: Digital Evolutions of Eugenic Agents." Asian Diasporic Visual Cultures and the Americas 5, no. 1-2 (April 11, 2019): 57–78. http://dx.doi.org/10.1163/23523085-00501004.

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Kalimán is a Mexican superhero that has circulated Orientalist eugenic values for over fifty years across Latin America. Although Indian, and wearing traditional Indian subcontinental clothing, distinguishable only by a jewel-encased “K” on his turban, Kalimán is a muscular, blue-eyed, and white character. He was created in 1963 as the main protagonist of a radio series that spawned a comic magazine in 1965, two films in 1972 and 1976, and animations and video games in the early 2010s, in a massive process of remediation that has guaranteed a solid mark in the cultural patrimony of the Americas. Since Kalimán incarnates impulses of punishment and desire over racially contaminated brown and black characters, his undisturbed, easy-to-access, and enduring presence provides evidence of deeply ingrained anti-Asian violence in Latin American popular culture, as well as the urge to develop a critical look at graphic violence traditions which continue to be treasured.

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Calvo, Luz. "Art Comes for the Archbishop." Meridians 19, S1 (December 1, 2020): 169–95. http://dx.doi.org/10.1215/15366936-8565946.

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Abstract Inspired by the Chicana feminist artist Alma López’s Our Lady (1999), this essay explores Chicana cultural and psychic investments in representations of the Virgin of Guadalupe. As an image of the suffering mother, the Virgin of Guadalupe is omnipresent in Mexican-American visual culture. Her image has been refigured by several generations of Chicana feminist artists, including Alma López. Chicana feminist reclaiming of the Virgin, however, has been fraught with controversy. Chicana feminist cultural work—such as the art of Alma López, performances by Selena Quintanilla, and writings by Sandra Cisneros and John Rechy—expand the queer and Chicana identifications and desires, and contest narrow, patriarchal nationalisms. By deploying critical race psychoanalysis and semiotics, we can unpack the libidinal investments in the brown female body, as seen in both in popular investments in protecting the Catholic version of the Virgin of Guadalupe and Chicana feminist reinterpretations.

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Herrada, Juan, and Suresh J. Antony. "Salmonella Arizonae Bacteremia Associated with Septic Arthritis Following Consumption of Rattlesnake Capsules in a Patient with Idiopathic Thrombocytopenic Purpura (ITP) on Chronic Steroid Therapy." Blood 110, no. 11 (November 16, 2007): 3919. http://dx.doi.org/10.1182/blood.v110.11.3919.3919.

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Abstract Background: Folk medicine plays an important role in some populations in the United States. In particular, the use of rattle snake powder is becoming increasingly popular among the Mexican-American population along the US-Mexico border. Infections associated with the ingestion of this preparation have increasingly been reported in this country. We present a patient who presented with Salmonella Arizonae bacteremia and septic arthritis with underlying ITP on chronic treatment with steroids and surreptitious use of rattle snake powder. Case Report: A 53 year-old Mexican -American male with a past history of ITP on chronic oral prednisone with intact spleen was admitted with fever, chills, and an acute onset of pain, swelling and tenderness of his left knee. On admission to the hospital, his temperature was 101.5 F, blood pressure was 124/68, and pulse 102/min. The physical findings were significant for swelling and tenderness to the left knee with evidence of synovial effusion and restricted range of motion. The white blood cell count was 18,000cu/mm. Culture of the patient’s left knee synovial fluid aspirate grew Salmonella Arizonae, as did his blood cultures. The pathogen was sensitive to 3rd generation cephalosporins and quinolones, and he was treated with intravenous ceftriaxone for 2 weeks with resolution of the bacteremia and improvement of the septic knee. He subsequently underwent a total knee arthroplasty, and follow up 1 year later revealed no evidence of persistent infection. After the pathogen identification, a careful alternative medicine history revealed the consumption of rattle snake powder preparation intended for treatment of his arthritis and ITP. Conclusion: Physicians should be aware of Salmonella Arizonae associated illnesses in both immunocompetent as well as immunosuppressed patients. Because the surge of interest in complementary and alternative medicine, a careful history should be elucidated, especially in immunocompromised patients who present with this syndrome.

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Dubiel, Monika. "The Blind Side of Art: Visual Impairment as a Resource in the Work of Mexican Artists." Przegląd Socjologii Jakościowej 18, no. 3 (August 31, 2022): 120–37. http://dx.doi.org/10.18778/1733-8069.18.3.07.

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Disability studies is a dynamically developing discipline; however, it usually focuses on the Anglophone world. Scholars representing this field often concentrate on deconstructing popular stereotypes and revealing hidden systemic discrimination. Although more and more initiatives are taken up – such as disability pride – it seems that an affirmative approach to disability remains in the minority. This article is a proposal for going beyond the mentioned schemes. Entering the area of the Latin American culture, I try to verify whether the findings of disability studies can be confirmed there. Proposing the interpretation of dis-ability in terms of resource, I want to broaden the affirmative perspective on disability. This paper aims at a critical reflection on the creative potential of visual impairment used by blind and low-vision Mexican artists in the creative process. Driving upon the research conducted between 2020 and 2022, I argue that they use their visual impairment as a resource in their artistic activity. I distinguish four aspects of the functioning of visual impairment as a resource in artistic work: inspiration, representation, non-ocularcentric imagination, and accessibility.

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14

Ragland, Cathy. "Hacer sonar la tradición a través de las fronteras." Mexican Studies/Estudios Mexicanos 35, no. 1 (2019): 88–114. http://dx.doi.org/10.1525/msem.2019.35.1.88.

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La carrera del acordeonista y líder de banda musical, Ramón Ayala, abarca más de 50 años de labor como arquitecto pionero de la música norteña, el popular género mexicano / méxico-americano del siglo xx. A diferencia de Los Tigres del Norte (su rival más visible en California), Ayala apenas cuenta con el apoyo de medios de comunicación y de grandes disqueras, casi no recibe atención periodística ni académica, y reside en un poblado rural fronterizo de Texas. En este ensayo sostengo que la colaboración formativa de Ayala con el cantante y compositor Cornelio Reyna, en el dúo arquetípico norteño Los Relámpagos del Norte, dio como resultado innovaciones clave que modernizaron y transformaron una tradición popular regional en un fenómeno de la música popular transnacional. Examino cómo Ayala construyó una “imagen de autor” definida por una identidad regional rural, de clase trabajadora, conservadora, hipermasculina y formada por la ciudadanía bicultural y binacional de la frontera. La popularidad sostenida de Ayala y su autenticidad “mexicana” percibida desafían las tendencias ideológicas actuales en la industria “Regional Mexican”, en gran parte urbana e impulsada por un cambio generacional hacia los narcocorridos, las letras violentas y las imágenes hipersexualizadas de lo rural. Accordionist and bandleader Ramón Ayala’s career spans over 50 years as a pioneering architect of música norteña, the popular Mexican/Mexican American genre of the 20th century. Unlike Los Tigres del Norte (his more visible California-based rival) Ayala relies on scant media and major label support, receives almost no journalistic and scholarly attention, and resides in a rural Texas border town. This essay argues that Ayala’s formative collaboration with singer/songwriter Cornelio Reyna as the archetypal norteño duo Los Relámpagos del Norte, resulted in critical innovations that modernized and transformed a regional folk tradition into a transnational popular music phenomenon. I examine how Ayala constructed an “author image,” defined by regional identity as rural, working-class, conservative, hypermasculine and shaped by bi-cultural and bi-national border citizenship. Ayala’s continued popularity and perceived “Mexican” authenticity challenges current ideological trends in today’s largely urban “Regional Mexican” industry driven by a generational shift towards narcocorridos, violent lyrics, and hypersexualized imaginings of rurality.

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Jacobs, Elizabeth. "The Theatrical Politics of Chicana/Chicano Identity: from Valdez to Moraga." New Theatre Quarterly 23, no. 1 (January 16, 2007): 25–34. http://dx.doi.org/10.1017/s0266464x06000601.

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Critical opinion over the role of popular culture in relation to ethnic and cultural identity is deeply divided. In this essay, Elizabeth Jacobs explores the dynamics of this relationship in the works of two leading Mexican American playwrights. Luis Valdez was a founding member of El Teatro Campesino (Farmworkers' Theatre) in California during the 1960s. Originally formed as a resistance theatre, its purpose was to support the Farmworkers' Union in its unionization struggle. By the early 1970s Valdez and the Teatro Campesino were moving in a different direction, and with Zoot Suit (1974) he offered a critique of the race riots that erupted in East Los Angeles during the summer of 1943, the subsequent lack of reasonable judicial process, and the media misrepresentation of events. Valdez used setting, music, slang, and dress code among other devices to construct a sense of identity and ethnic solidarity. This provided a strong voice for the Chicano group, but at the same time a particular gendered hierarchy also distinguished his aesthetic. Cherríe Moraga's work provides a balanced opposition to that of Valdez. Giving up the Ghost (1984) helped to change the direction of Chicano theatre both in terms of its performativity and its strategies of representation. Elizabeth Jacobs explores how Moraga redefines both the culturally determined characterization of identity presented by Valdez and the media representation of women. She also utilizes theatrical space as a platform for a reassertion of ethnicity, allowing for the innovation of a split subjectivity and radical lesbian desire. Giving up the Ghost, Jacobs argues, provides a trenchant critique of communal and popular culture discourses as well as a redefinition of existing identity politics.

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Brazhnikova, Irina E. "National Identity and Its Linguistic Representation in the Mexican Linguocultural Space." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 1 (February 17, 2023): 54–61. http://dx.doi.org/10.37482/2687-1505-v239.

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This article studies the linguistic representation of identity in the Mexican linguocultural space. The aim of the paper is to deduce the manifestations of national identity of Mexicans in their language and linguoculture. The relevance of this research stems from the need to study the national identity of Mexicans as representatives of the largest Spanish-speaking country. Of no less importance in the era of globalization is the analysis of the representation of identity, whose process of formation is used to control the consciousness of modern society and as a key element in state policy, contributing to a country’s stable growth and development. The article points out that Mexican Spanish has pan-Hispanic, pan-American, zonal, and nation-specific features. It has a tendency towards originality, represented by phonetic, grammatical, and lexicosemantic features. Mexican identity is most vividly manifested in vocabulary and phraseology. One of the main features of Mexican Spanish vocabulary is archaisms. Numerous borrowings from the languages of the indigenous peoples of the Americas, or indigenisms, testify to the importance of this component in the Mexican linguistic worldview and serve as markers of national identity. This identity is manifested in precedent names, which refer us to the images of indigenous cultures of ancient civilizations, as well as in the names of characters popular in the Mexican cultural space. One of the components of the representation of Mexican identity in the language is paroemia. The author concludes that archaisms, indigenisms, anthroponyms, precedent names, and proverbs of Mexican Spanish have “absorbed” the history of the Mexican people and reflect the specific linguistic worldview of Mexicans.

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Opie, Frederick Douglass. "Mexican American Mojo: Popular Music, Dance, and Urban Culture in Los Angeles, 1935–1968. By Anthony Macías. (Durham and London: Duke University Press, 2008. 383 pp. $24.95.)." Journal of Social History 43, no. 4 (2010): 1076–79. http://dx.doi.org/10.1353/jsh.0.0351.

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Hamer, Katarzyna, Sam McFarland, Barbara Czarnecka, Agnieszka Golińska, Liliana Manrique Cadena, Magdalena Łużniak-Piecha, and Tomasz Jułkowski. "What Is an “Ethnic Group” in Ordinary People’s Eyes? Different Ways of Understanding It Among American, British, Mexican, and Polish Respondents." Cross-Cultural Research 54, no. 1 (December 21, 2018): 28–72. http://dx.doi.org/10.1177/1069397118816939.

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Although the term “ethnic group” (EG) is often used in social studies, its definition differs among researchers. Moreover, little is known about ordinary people’s subjective understanding of this term, even though it is often used in social discourse. We examined this issue in a cross-sectional study of 273 American, British, Mexican, and Polish students using an open-ended questions approach. Results revealed cultural differences in patterns of “ethnic group” definitions across the four countries. U.S. respondents predominantly connected EG to “race”; British participants frequently related it to “race,” but more often to “common culture” and “customs/traditions.” Both latter categories were overwhelmingly dominant in Mexico and Poland. However, “nation,” “shared history,” “religion,” “language,” and “territory” were also very popular as EG understandings in Poland. Although most participants used the newer definition of EG (referring to all groups in a society, including minority and majority groups), a few in each country used the term only to refer to minorities and people different from themselves (an older, “minus one” definition). Unexpected definitions of EG also appeared (e.g., people having similar hobbies, having similar work goals, or living in the same city). The results also indicate that for the United States, the United Kingdom, and Mexico, “ethnic group” was more a subgroup within a nation, whereas in Poland, they represented the same level of categorization. The theoretical and practical implications of our findings are discussed.

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Marcus, Kenneth H. "Anthony Macías . Mexican American Mojo: Popular Music, Dance, and Urban Culture in Los Angeles, 1935–1968.(Refiguring American Music.)Durham, N.C. : Duke University Press . 2008 . Pp. xvi, 383. Cloth $89.95, paper $24.95." American Historical Review 114, no. 5 (December 2009): 1486–87. http://dx.doi.org/10.1086/ahr.114.5.1486.

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Buffington, Robert M. "Chin-Chun-Chan:Popular Sinophobia in Early Twentieth-Century Mexico City." Americas 78, no. 2 (April 2021): 279–318. http://dx.doi.org/10.1017/tam.2020.105.

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AbstractThis article looks at popular responses to the zarzuela Chin-Chun-Chan and the issues that surfaced around its timely subject in early twentieth-century Mexico City. The principal source is the Mexico City satiric penny press for workers, supplemented by somewhat less polemical broadsides, both sold on the streets of the capital. Aimed mostly at working-class Mexicans, these sources offer a glimpse at popular attitudes circulating in a public sphere otherwise dominated by the perspective of educated elites. The article has four sections. First, it briefly reviews social commentary on the democratization of musical theater. Second, it examines Chin-Chun-Chan as a political symbol that crystalized around working-class complaints about the Porfirian regime, especially its alleged disregard for Mexican workers and Mexican national identity. Third, it analyzes the ways in which the phrase “Chin-Chun-Chan” entered popular language as a racial signifier for a range of things, some of which bore little relation to its theatrical origins. Finally, it links popular Sinophobia in late Porfirian Mexico City to the virulent anti-Chinese campaigns in northern Mexico, which played a key role in defining national identity after the 1910 Revolution, and to the “hemispheric orientalism” that has characterized anti-Asian sentiments throughout the Americas.

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Monsiváis, Carlos, and Lois Parkinson Zamora. "The Neobaroque and Popular Culture." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 180–88. http://dx.doi.org/10.1632/pmla.2009.124.1.180.

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Carlos Monsiváis is hard to pin down. He is a chronicler of every aspect of Mexican reality past and present; A cultural critic focusing on poetry, film, art, and music; and an erudite essayist committed to the connections between elite and popular cultures. His style is both acerbic and festive in ways that epitomize the Mexican character, and nothing escapes his incisive curiosity: the cult of national heroes that finds its twin in the society of spectacle, the cultural migrations between television talk and devotional discourse, the mass movements that advance and recede in a welter of democratic projects. As an intellectual, Carlos Monsiváis is unique in (and to) Mexico. You cannot walk in this country without seeing or hearing him on every street corner, nor can you open a book without sensing his influence. His presence is so omnímoda—so omnimodal—that we no longer know which came first: Mexican culture as Monsiváis observes it, or Monsiváis observing Mexican culture.

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Ng, Franklin, and Robert G. Lee. "Orientals: Asian Americans in Popular Culture." American Historical Review 105, no. 3 (June 2000): 946. http://dx.doi.org/10.2307/2651889.

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Roediger, David, and Robert G. Lee. "Orientals: Asian Americans in Popular Culture." Journal of American History 87, no. 1 (June 2000): 227. http://dx.doi.org/10.2307/2567971.

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Tang, Scott H. "Orientals: Asian Americans in Popular Culture." Journal of American Ethnic History 20, no. 1 (October 1, 2000): 105–7. http://dx.doi.org/10.2307/27502661.

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del Castillo, Richard Griswold. "Mexican Intellectuals’ Perceptions of Mexican Americans and Chicanos, 1920-present." Aztlán: A Journal of Chicano Studies 27, no. 2 (2002): 33–74. http://dx.doi.org/10.1525/azt.2002.27.2.33.

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A historical analysis of academic and popular ideas about Mexican immigrants and their children by members of the Mexican intelligentsia reveals a changing understanding of the meaning of immigration and ethnicity. Starting with a widespread view of Mexican immigrants to the United States as “cultural traitors”, Mexican public opinion about this group gradually changed due to both the political evolution of Mexican intellectuals and the growing economic and political power of Latinos in the United States. The Mexican government has increasingly come to see Chicano political leaders as important to Mexico's relationship with the United States, while Mexican intellectuals increasingly regard Chicano academics as their allies in a struggle against North American hegemony.

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Knowlton, David Clark. "Culture across Borders: Mexican Immigration and Popular Culture." Utah Historical Quarterly 67, no. 1 (January 1, 1999): 92–93. http://dx.doi.org/10.2307/45062536.

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Naumann, Laura P., Verónica Benet-Martínez, and Penelope Espinoza. "Correlates of Political Ideology Among U.S.-Born Mexican Americans." Social Psychological and Personality Science 8, no. 1 (August 20, 2016): 20–28. http://dx.doi.org/10.1177/1948550616662124.

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Latino Americans have to navigate involvement and identification with two cultural groups—their ethnic culture and the dominant American culture. Differences in cultural identifications have been found to correlate with political affiliation and attitudes toward acculturation. Using a sample of U.S.-born Mexican Americans, we examined several correlates of political ideology including the strength of identification with both Mexican and Anglo-American cultures, acculturation attitudes, and socioeconomic status (SES). Strength of Mexican identity, stronger integration acculturation attitudes, weaker assimilation attitudes, and lower SES were associated with holding a more liberal political ideology. Furthermore, we found that integration acculturation attitudes mediated and SES moderated the relationship between Mexican identification and political ideology. These findings suggest that political campaigns should be mindful of differences in cultural identifications and acculturation attitudes when addressing their Latino constituents.

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Steptoe, Tyina. "Mexican Americans and the Power of Culture in Houston." Modern American History 2, no. 1 (November 20, 2018): 65–69. http://dx.doi.org/10.1017/mah.2018.35.

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Smart, Julie F., and David W. Smart. "Acculturation, Biculturalism, and the Rehabilitation of Mexican Americans." Journal of Applied Rehabilitation Counseling 24, no. 2 (June 1, 1993): 46–51. http://dx.doi.org/10.1891/0047-2220.24.2.46.

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This article attempts to integrate findings in the following areas: the acculturation and biculturalism processes of Mexican Americans, the measurement and assessment of acculturalism and biculturalism, and possible relationships between acculturation of Mexican Americans and rehabilitation practice. Acculturation can be behavioral, psychological, and/or sociocultural and is generally thought of as the acquisition of a second culture. Implications for rehabilitation practice are given.

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Glasser, R. "Mexican American Mojo: Popular Music, Dance, and Urban Culture in Los Angeles, 1935-1968. By Anthony Macias. (Durham: Duke University Press, 2008. xviii, 383 pp. Cloth, $89.95, ISBN 978-0-8223-4339-4. Paper, $24.95, ISBN 978-0-8223-4322-6.)." Journal of American History 96, no. 3 (December 1, 2009): 924–25. http://dx.doi.org/10.1093/jahist/96.3.924.

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Appleyard, Bryan. "Popular Culture and Public Affairs." Royal Institute of Philosophy Supplement 45 (March 2000): 97–104. http://dx.doi.org/10.1017/s1358246100003337.

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Recently I saw a corporate TV advertisement for the American television network ABC. It showed brief shots of people in other countries—France, Japan, Russia and so on. These people were doing all kinds of things, but they weren't watching television. Americans, the commentary told us, watch more TV than any of these people. Yet America is the richest, most innovative, most productive nation on the planet. ‘A coincidence’, concluded the wry, confident voice, ‘we don't think so’.

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32

Chan, Anthony B. "Book Review: Orientals: Asian Americans in Popular Culture." International Migration Review 35, no. 1 (March 2001): 332–33. http://dx.doi.org/10.1111/j.1747-7379.2001.tb00018.xm.

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Vallejo, Jody Agius. "Socially Mobile Mexican Americans and the Minority Culture of Mobility." American Behavioral Scientist 56, no. 5 (February 27, 2012): 666–81. http://dx.doi.org/10.1177/0002764211433807.

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Aguayo, David, Keith Herman, Lizette Ojeda, and Lisa Y. Flores. "Culture predicts Mexican Americans' college self-efficacy and college performance." Journal of Diversity in Higher Education 4, no. 2 (2011): 79–89. http://dx.doi.org/10.1037/a0022504.

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Saracho, Olivia N., and Frances Martínez-Hancock. "The Culture of Mexican Americans: Its Importance for Early Educators." Journal of Hispanic Higher Education 3, no. 3 (July 2004): 254–69. http://dx.doi.org/10.1177/1538192704264855.

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36

Gutierrez, G. "Culture sensitive neuropsychological screening for mexican-americans: A pilot study." Archives of Clinical Neuropsychology 14, no. 8 (November 1999): 713. http://dx.doi.org/10.1016/s0887-6177(99)80181-4.

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Gutierrez, G., S. Thomas, and K. Amin. "Culture sensitive neuropsychological screening for mexican-americans: A pilot study." Archives of Clinical Neuropsychology 14, no. 8 (November 1, 1999): 713. http://dx.doi.org/10.1093/arclin/14.8.713.

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Cortese, Anthony J. "Family, Culture and Society: Educational Policy Implications for Mexican Americans." Phylon (1960-) 49, no. 1/2 (1992): 71. http://dx.doi.org/10.2307/3132619.

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39

Rich, Paul, and Guillermo De Los Reyes. "Mexican Caricature and the Politics of Popular Culture." Journal of Popular Culture 30, no. 1 (June 1996): 133–45. http://dx.doi.org/10.1111/j.0022-3840.1996.00133.x.

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Reeves, Kay. "Sanches, Becoming Mexican American - Ethnicity, Culture, And Identity In Chicano Los Angeles, 1900-1945." Teaching History: A Journal of Methods 21, no. 2 (September 1, 1996): 96–97. http://dx.doi.org/10.33043/th.21.2.96-97.

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Becoming Mexican American explores the complex process by which Mexican immigrants and their American-born children living in Los Angeles between 1900 and 1945 were transformed from being Mexicans living in the United States to ethnically and culturally identifying themselves as Mexican Americans. Following an introduction that reviews the historiography, both sociological and historical, on cultural adaptation and ethnic identity of immigrants in general and Mexicans in particular, Sanchez divides his study into four major parts.

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García Blizzard, Mónica. "Hoisting the Mexican Death Totem: Macario (dir. Gavaldón, 1960) and the Projection of mexicanidad." Mexican Studies/Estudios Mexicanos 39, no. 2 (2023): 241–70. http://dx.doi.org/10.1525/msem.2023.39.2.241.

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Though commercially successful at home and widely recognized abroad, Roberto Gavaldón’s 1960 film Macario has been underexamined by critics and scholars due to its effortful artistic pretensions, strategies for exalting popular nationalist culture, connections to foreign cultural products, and place within Mexican film history’s narrative of post–golden age decline. In alignment with recent scholarship questioning the role of tastemakers and their verdicts on popular Mexican cinema, this article draws on Andrew Higson’s theorization of national films as strategic interventions within the heterogenous and even contradictory symbolic field of national-identity discourses. Through film analysis and informed by Claudio Lomnitz’s understanding of Mexico’s three national totems, this study demonstrates how Gavaldón’s Macario promotes popular death culture by embedding it within key preexisting discourses tied to Mexican identity. In so doing, this article illuminates Macario’s significance within Mexican cinema history as the most prominent filmic contributor to the hoisting of Mexican death culture as the symbol of mexicanidad. Moreover, this study posits Gavaldón’s film as an indispensable precursor for understanding how Mexican death culture today operates matter of factly as metonym for the nation in audiovisual mediums consumed globally.

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Paul Burkhardt. "Culture Across Borders: Mexican Immigration and Popular Culture (review)." Arizona Journal of Hispanic Cultural Studies 2, no. 1 (1998): 305–6. http://dx.doi.org/10.1353/hcs.2011.0025.

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Negy, Charles. "Anglo- and Hispanic-Americans' Performance on the Family Attitude Scale and its Implications for Improving Measurements of Acculturation." Psychological Reports 73, no. 3_suppl (December 1993): 1211–17. http://dx.doi.org/10.2466/pr0.1993.73.3f.1211.

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The present study examined whether the Family Attitude Scale, which measures family and socialization values, can be used to measure Hispanic-Americans' acculturation. This goal was in response to the criticism that many popular acculturation measures rely excessively on language preference and generation status from which one's acculturation is inferred instead of being assessed more specifically. Analysis indicated that 62 Anglo-Americans responded significantly differently than 61 Hispanic-Americans on four of the eight Family Attitude subscales but that the latter group's scores on the popularly used Acculturation Rating Scale for Mexican-Americans did not significantly correlate with their Family Attitude Scale scores. Implications for improving acculturation measures are discussed.

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Spinelli, Donald C., Paola A. Sensi Isolani, and Anthony Julian Tamburri. "Italian Americans Celebrate Life: The Arts and Popular Culture." Italica 71, no. 2 (1994): 250. http://dx.doi.org/10.2307/480022.

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Saracho, Olivia N., and Frances Martínez-Hancock. "The Culture of Mexican-Americans: Its Importance for Early Childhood Educators." Multicultural Perspectives 9, no. 2 (June 19, 2007): 43–50. http://dx.doi.org/10.1080/15210960701386400.

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Hecht, Michael L., Michael V. Sedano, and Sodeny R. Ribeau. "Understanding culture, communication, and research: Applications to Chicanos and Mexican Americans." International Journal of Intercultural Relations 17, no. 2 (March 1993): 157–65. http://dx.doi.org/10.1016/0147-1767(93)90022-z.

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47

Depaulis, Thierry. "Ancient American Board Games, I: From Teotihuacan to the Great Plains." Board Game Studies Journal 12, no. 1 (October 1, 2018): 29–55. http://dx.doi.org/10.2478/bgs-2018-0002.

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Abstract Besides the ubiquitous patolli—a race game played on a cruciform gameboard—the Aztecs had obviously a few other board games. Unfortunately their names have not been recorded. We owe to Diego Durán, writing in the last quarter of the 16th century from local sources, some hints of what appears to be a “war game” and a second, different race game that he calls ‘fortuna’. A close examination of some Precolumbian codices shows a rectangular design with a chequered border, together with beans and gamepieces, which has correctly been interpreted as a board game. Many similar diagrams can be seen carved on stone in temples and public places, from Teotihuacan (c. 4th-7th century AD) to late Toltec times (9th-12th century AD). Of this game too we do not know the name. It has tentatively been called quauhpatolli (“eagle- or wooden-patolli”) by Christian Duverger (1978)—although this seems to have been the classic post-conquest Nahuatl name for the game of chess—or “proto-patolli”, and more concretely “rectángulo de cintas” (rectangle of bands) by William Swezey and Bente Bittman (1983). The lack of any representation of this game in all Postcolumbian codices, as painted by Aztec artists commissioned by Spanish scholars interested in the Aztec culture, is clear indication that the game had disappeared before the Spanish conquest, at least in central Mexico. No Aztec site shows any such gameboard. Fortunately this game had survived until the 20th (and 21st!) century but located in the Tarascan country, now the state of Michoacán. It was discovered, unchanged, in a Tarascan (Purepecha) village by Ralph L. Beals and Pedro Carrasco, who published their find in 1944. At that time Beals and Carrasco had no idea the game was attested in early codices and Teotihuacan to Maya and Toltec archaeological sites. In Purepecha the game is called k’uillichi. There is evidence of an evolution that led to a simplification of the game: less tracks, less gamesmen (in fact only one per player, while k’uillichi has four), and less ‘dice’. From a “complex” race game, the new debased version turned to be a simple single-track race game with no strategy at all. It is possible that this process took place in Michoacán. (A few examples of the simplified game were found in some Tarascan villages.) Also it seems the widespread use of the Nahua language, which the Spanish promoted, led to calling the game, and/or its dice, patol. As it was, patol proved to be very appealing and became very popular in the Mexican West, finally reaching the Noroeste, that is, the present North-West of Mexico and Southwest of the United States. This seems to have been a recent trend, since its progress was observed with much detail by missionaries living in close contact with the Indians along what was called the ‘Camino Real’, the long highway that led from western Mexico to what is now New Mexico in the U.S. The Spanish themselves seem to have helped the game in its diffusion, unaware of its presence. It is clearly with the Spaniards that the patol game, sometimes also called quince (fifteen), reached the American Southwest and settled in the Pueblo and the Zuñi countries. It is there that some newcomers, coming from the North or from the Great Plains, and getting in contact with the Pueblos in the 18th century, found the game and took it over. The Kiowas and Kiowa Apaches are noted for their zohn ahl (or tsoñä) game, while the Arapahos call it ne’bäku’thana. A careful examination of zohn ahl shows that it has kept the basic features of an ancient game that came—in Spanish times—from Mexico and may have been popular in Teotihuacan times. Its spread northward—through the Tarascan country—is, hopefully, well documented.

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48

Beezley, William B. "Amending memories: The nimble mnemonics of Mexican popular culture." Journal of Iberian and Latin American Research 6, no. 2 (December 2000): 45–64. http://dx.doi.org/10.1080/13260219.2000.10429593.

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Mulholland, Mary-Lee. "Mariachi, Myths andMestizaje: Popular Culture and Mexican National Identity." National Identities 9, no. 3 (September 2007): 247–64. http://dx.doi.org/10.1080/14608940701406237.

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Zoreda, Margaret Lee. "Anglophone Popular Culture in the Mexican University English Curriculum." Journal of Popular Culture 30, no. 1 (June 1996): 103–14. http://dx.doi.org/10.1111/j.0022-3840.1996.545103.x.

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