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DOCUMENT RESUME Chicano Studies Bibliography
DOCUMENT RESUME ED 119 923 ric 009 066 AUTHOR Marquez, Benjamin, Ed. TITLE Chicano Studies Bibliography: A Guide to the Resources of the Library at the University of Texas at El Paso, Fourth Edition. INSTITUTION Texas Univ., El Paso. PUB DATE 75 NOTE 138p.; For related document, see ED 081 524 AVAILABLE PROM Chicano Library Services, University of Texas at El Paso, El Paso, Texas 79902 ($3.00; 25% discount on 5 or more copies) EDRS PRICE MF-$0.83 HC-$7.35 Plus Postage DESCRIPTORS Audiovisual Aids; *Bibliographies; Books; Films; *library Collections; *Mexican Americans; Periodicals; *Reference Materials; *University Libraries IDENTIFIERS Chicanos; *University of Texas El Paso ABSTRACT Intended as a guide to select items, this bibliography cites approximately 668 books and periodical articles published between 1925 and 1975. Compiled to facilitate research in the field of Chicano Studies, the entries are part of the Chicano Materials Collection at the University of Texas at El Paso. Arranged alphabetically by the author's or editor's last name or by title when no author or editor is available, the entries include general bibliographic information and the call number for books and volume number and date for periodicals. Some entries also include a short abstract. Subject and title indices are provided. The bibliography also cites 14 Chicano magazines and newspapers, 27 audiovisual materials, 56 tape holdings, 10 researc°1 aids and services, and 22 Chicano bibliographies. (NQ) ******************************************14*************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. -
Second Generation
HISTORY The New Mexican-Americans in Wartime America: riots reflect the state of the Mexican American pop How the "Z-Oot Suit Riots" and the "Second Generation" events shape the future of the Mexican American c Transformed Mexican-American Ethnic Politics Brady Dvorak In this paper, l will show how the unique state oft especially the first US-born generation of Mexican Abstract second generation) - coupled with the anxiety of\ This paper looks at the unique demographic, economic, and cultural state of ethnic Mexicans living of racial tensions in Los Angeles. And, I will sho\\ in the United States during World War II and how the "Zoot Suit Riots" both refl ected the wartime riots" created by the sensationalistic press affected ethnic relations between Latinos and Anglos and influenced the future of Mexican American civil campaign in two ways: (1) Popular interpretation< rights movements. In particular, the riots will be examined within the context of the emergence of a American youth, bridging a correlation between et pachuco youth culture within the second generation of US-born ethnic Mexicans. Newspaper there being any racial discrimination during the ric articles of the time and complimentary research will also show how popular public perception of perception of there being no racial element of disc the events affected the way in which Mexican American community leaders would negotiate the communities. With Mexican American activists or ethnic politics of civil rights until the 1960s. anti-Mexican sentiment, they preached uncompror while ignoring the more complex problems of disc Introduction disparity between Latinos and Anglos in the Unite ne of the most notorious episodes in the history of US ethnic relations, and certainly in Mexican Americans, Pachucos, and World 0 Mexican American history, was the so called "zoot suit riots" that took place in wartime Los Angeles. -
La Frontera- the US Border Reflected in the Cinematic Lens David R
1 La Frontera- The U.S. Border Reflected in the Cinematic Lens David R. Maciel1 Introduction The U.S.-Mexico border/la frontera has the distinction of being the only place in the world where a highly developed country and a developing one meet and interact.2 This is an area of historical conflict, convergence, conflict, dependency, and interdependency, all types of transboundary links, as well as a society of astounding complexity and an evolving and extraordinarily rich culture. Distinct border styles of music, literature, art, media, and certainly visual practices have flourished in the region. Several of the most important cultural and artistic-oriented institutions, such as universities, research institutes, community centers, and museums are found in the border states of both countries. Beginning in the late 19th century and all the way to the present certain journalists, writers and visual artists have presented a distorted vision of the U.S. - Mexican border. The borderlands have been portrayed mostly as a lawless, rugged, and perilous area populated by settlers who sought a new life in the last frontier, but also criminals and crime fighters whose deeds became legendary. As Gordon W. Allport stated: 1 Emeritus Professor, University of New Mexico. Currently is Adjunct Professor at the Centro de Investigación y Docencia Económicas (CIDE) in Mexico City. 2 Paul Ganster and Alan Sweedler. The United States-Mexico Border Region: Implications for U.S. Security. Claremont CA: The Keck Center for International Strategic Studies, 1988. 2 [Stereotypes] aid people in simplifying their categories; they justify hostility; sometimes they serve as projection screens for our personal conflict. -
Through the Eyes of a Bracero
Through The Eyes of A Bracero A Senior Project presented to the Faculty of the History Department California Polytechnic State University, San Luis Obispo In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts by Karina Flores June, 2010 © 2010 Karina Flores I. INTRODUCTION “Dicen por allí” or the word around town was that “el Norte” was in search of men to harvest the fertile lands of California. Jose Carmen Flores did not fully understand what it meant to travel to the United States as a contracted labor worker. The few things he did know was that “prometieron un sueldo reasonable” or a reasonable salary was promised and he would be away from home for no more than 3 to 4 months at a time. He registered as a bracero and quickly left behind his young wife and his not yet born first baby, Eufemio. He made the journey to “el Norte” in the company of other wishful men who believed that their prayers to “la Virgen Maria” were being answered. Finally reaching “el Norte” brought tears to his eyes, “al fin llegue al pais de la esperanza,” meaning he arrived to the hopeful country. After migrating for several years between “el Norte” and Mexico, Jose Carmen’s hopes and dreams were shattered. “El sueldo reasonable” no longer held up to be true, and he was not paid for several of the jobs he conducted day in and day out. Braceros were like-minded in that they brought with them a limited understanding as well as unreliable images of life in the United States. -
Style Sheet for Aztlán: a Journal of Chicano Studies
Style Sheet for Aztlán: A Journal of Chicano Studies Articles submitted to Aztlán are accepted with the understanding that the author will agree to all style changes made by the copyeditor unless the changes drastically alter the author’s meaning. This style sheet is intended for use with articles written in English. Much of it also applies to those written in Spanish, but authors planning to submit Spanish-language texts should check with the editors for special instructions. 1. Reference Books Aztlán bases its style on the Chicago Manual of Style, 15th edition, with some modifications. Spelling follows Merriam-Webster’s Collegiate Dictionary, 11th edition. This sheet provides a guide to a number of style questions that come up frequently in Aztlán. 2. Titles and Subheads 2a. Article titles No endnotes are allowed on titles. Acknowledgments, information about the title or epigraph, or other general information about an article should go in an unnumbered note at the beginning of the endnotes (see section 12). 2b. Subheads Topical subheads should be used to break up the text at logical points. In general, Aztlán does not use more than two levels of subheads. Most articles have only one level. Authors should make the hierarchy of subheads clear by using large, bold, and/or italic type to differentiate levels of subheads. For example, level-1 and level-2 subheads might look like this: Ethnocentrism and Imperialism in the Imperial Valley Social and Spatial Marginalization of Latinos Do not set subheads in all caps. Do not number subheads. No endnotes are allowed on subheads. -
Oral History Interview with Barbara Carrasco
Oral history interview with Barbara Carrasco The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Barbara Carrasco AAA.carras99 Collection Overview Repository: Archives of American Art Title: Oral history interview with Barbara Carrasco Identifier: -
City of Los Angeles Mail
October 1st, 2020 Cultural Heritage Commission 200 North Spring Street, Room 272 Los Angeles, CA 90012 Re: Support for HCM Nominations of Proposed Monument – Centro de Arte Publico, CHC-2020-5209-HCM; Honorable members of the Cultural Heritage Commission. We are writing to express our strong support for the designation of the building proposed by Highland Park Heritage Trust as a Historic Cultural Monument: the Centro de Arte Publico located at 5605-5607 North Figueroa Street; The building that housed the Centro de Arte Publico serves as an important reminder of the history of the Chicano Movement in Highland Park and the artists who contributed to it with their creativity. The Centro de Arte Publico also housed ChismeArte that featured Chicano writers and was a driving force for Chicana feminism. It is essential that this history not be erased. The stories of these artists and of their contributions must not disappear. Latinxs cultural contributions and stories must be preserved. Throughout the City of Los Angeles buildings and murals that were important to the Chicano Movement are under threat of demolition or defacement. The designation of the Centro de Arte Publico will preserve it for future generations. Many important Chicano and Chicana artists called the Centro de Arte Publico home. The Centro was founded here in Highland Park by Carlos Almaraz, Guillermo Bejarano and Richard Durado. John Valadez, Barbara Carrasco, Dolores Cruz, Judithe Hernandez, Beto De La Rocha, Carlos Almaraz, Frank Romero, Richard Durado and Guillermo Bejarano were some of the artists associated with the Centro de Arte Publico. ChismeArte became an important vehicle for Chicana feminism. -
Lorne Bair Rare Books, ABAA 661 Millwood Avenue, Ste 206 Winchester, Virginia USA 22601
LORNE BAIR RARE BOOKS CATALOG 26 Lorne Bair Rare Books, ABAA 661 Millwood Avenue, Ste 206 Winchester, Virginia USA 22601 (540) 665-0855 Email: [email protected] Website: www.lornebair.com TERMS All items are offered subject to prior sale. Unless prior arrangements have been made, payment is expected with or- der and may be made by check, money order, credit card (Visa, MasterCard, Discover, American Express), or direct transfer of funds (wire transfer or Paypal). Institutions may be billed. Returns will be accepted for any reason within ten days of receipt. ALL ITEMS are guaranteed to be as described. Any restorations, sophistications, or alterations have been noted. Autograph and manuscript material is guaranteed without conditions or restrictions, and may be returned at any time if shown not to be authentic. DOMESTIC SHIPPING is by USPS Priority Mail at the rate of $9.50 for the first item and $3 for each additional item. Overseas shipping will vary depending upon destination and weight; quotations can be supplied. Alternative carriers may be arranged. WE ARE MEMBERS of the ABAA (Antiquarian Bookseller’s Association of America) and ILAB (International League of Antiquarian Book- sellers) and adhere to those organizations’ strict standards of professionalism and ethics. CONTENTS OF THIS CATALOG _________________ AFRICAN AMERICANA Items 1-35 RADICAL & PROLETARIAN LITERATURE Items 36-97 SOCIAL & PROLETARIAN LITERATURE Items 98-156 ART & PHOTOGRAPHY Items 157-201 INDEX & REFERENCES PART 1: AFRICAN-AMERICAN HISTORY & LITERATURE 1. ANDREWS, Matthew Page Heyward Shepherd, Victim of Violence. [Harper’s Ferry?]: Heyward Shepherd Memorial Association, [1931]. First Edition. Slim 12mo (18.5cm.); original green printed card wrappers, yapp edges; 32pp.; photograph. -
Chicano Nationalism: the Brown Berets
CHICANO NATIONALISM: THE BROWN BERETS AND LEGAL SOCIAL CONTROL By JENNIFER G. CORREA Bachelor of Science in Criminology Texas A&M University Kingsville, TX 2004 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE July 2006 CHICANO NATIONALISM: THE BROWN BERETS AND LEGAL SOCIAL CONTROL Thesis Approved: Dr. Thomas Shriver Thesis Adviser Dr. Gary Webb Dr. Stephen Perkins Dr. A. Gordon Emslie Dean of the Graduate College ii TABLE OF CONTENTS Chapter Page I. INTRODUCTION ......................................................................................................1 II. REVIEW OF LITERATURE ………………………………………………………7 Informants and Agent Provocateurs .........................................................................8 Surveillance, Dossiers, Mail Openings, and Surreptitious Entries ……………….14 Violent Strategies and Tactics ……………………………………………………20 III. METHOD OLOGY……………………………………………………………….29 Document Analysis ................................................................................................30 Telephone Interviews .............................................................................................32 Historical Analysis .................................................................................................34 IV. FINDINGS .............................................................................................................36 Mexican -American History ...................................................................................36 -
Martin Luther King Jr., Cesar Chavez, and the Images of Their Movements
MIXED UP IN THE MAKING: MARTIN LUTHER KING JR., CESAR CHAVEZ, AND THE IMAGES OF THEIR MOVEMENTS A Dissertation presented to the Faculty of the Graduate School University of Missouri-Columbia In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by ANDREA SHAN JOHNSON Dr. Robert Weems, Jr., Dissertation Supervisor MAY 2006 © Copyright by Andrea Shan Johnson 2006 All Rights Reserved The undersigned, appointed by the Dean of the Graduate School, have examined the dissertation entitled MIXED UP IN THE MAKING: MARTIN LUTHER KING JR., CESAR CHAVEZ AND THE IMAGES OF THEIR MOVEMENTS Presented by Andrea Shan Johnson A candidate for the degree of Doctor of Philosophy of History And hereby certify that in their opinion it is worthy of acceptance. __________________________________________________________ Professor Robert Weems, Jr. __________________________________________________________ Professor Catherine Rymph __________________________________________________________ Professor Jeffery Pasley __________________________________________________________ Professor Abdullahi Ibrahim ___________________________________________________________ Professor Peggy Placier ACKNOWLEDGEMENTS I owe thanks to many people for helping me in the completion of this dissertation. Thanks go first to my advisor, Dr. Robert Weems, Jr. of the History Department of the University of Missouri- Columbia, for his advice and guidance. I also owe thanks to the rest of my committee, Dr. Catherine Rymph, Dr. Jeff Pasley, Dr. Abdullahi Ibrahim, and Dr. Peggy Placier. Similarly, I am grateful for my Master’s thesis committee at Indiana University-Purdue University at Indianapolis, Dr. Annie Gilbert Coleman, Dr. Nancy Robertson, and Dr. Michael Snodgrass, who suggested that I might undertake this project. I would also like to thank the staff at several institutions where I completed research. -
Being Edward James Olmos: Culture Clash and the Portrayal of Chicano Masculinity
Studies in 20th & 21st Century Literature Volume 32 Issue 2 Theater and Performance in Nuestra Article 12 América 6-1-2008 Being Edward James Olmos: Culture Clash and the Portrayal of Chicano Masculinity Nohemy Solózano-Thompson Whitman College Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Film and Media Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Solózano-Thompson, Nohemy (2008) "Being Edward James Olmos: Culture Clash and the Portrayal of Chicano Masculinity," Studies in 20th & 21st Century Literature: Vol. 32: Iss. 2, Article 12. https://doi.org/ 10.4148/2334-4415.1686 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Being Edward James Olmos: Culture Clash and the Portrayal of Chicano Masculinity Abstract This paper analyzes how Culture Clash problematizes Chicano masculinity through the manipulation of two iconic Chicano characters originally popularized by two films starring dwarE d James Olmos - the pachuco from Luis Valdez’s Zoot Suit (1981) and the portrayal of real-life math teacher Jaime Escalante in Stand and Deliver (1988). In “Stand and Deliver Pizza” (from A Bowl of Beings, 1992), Culture Clash tries to introduce new Chicano characters that can be read as masculine, and who at the same time, display alternative behaviors and characteristics, including homosexual desire. The three characters in “Stand and Deliver Pizza” represent stock icons of Chicano masculinity. -
EL TEATRO CAMPESINO Curated By
CURATED BY Daniela Lieja Quintanar Samantha Gregg ) 5 7 9 1 ( b m u l P i m i M : o t o h P 2 EL TEATRO CAMPESINO (1965-1975) Curated by Daniela Lieja Quintanar Samantha Gregg Introduction/Introducción pg 4 The Stage/Escenarios pg 5 Family/La familia pg 8 March to Sacramento/Marcha a Sacramento pg 9 Masks and Villains/Máscaras y Villanos pg 11 Actos pg 13 Humor and/y Rasquachismo pg 15 The Chicano Theater Movement/ El Movimiento de Teatro Chicano pg 18 Peter Brook pg 19 Video pg 20 Radicality/Radicalidad pg 23 Boycott/Boicot pg 24 El Malcriado pg 27 Maya and/y Aztec (Sun Mural/Mural del Sol) pg 28 United Farm Workers pg 30 Exhibition Views/Vistas de la Exposición pg 36 Actos, Soundtrack and/y Bibliography/Bibliografía pg 41 Checklist pg 45 An Homage to Diane Rodriguez (1951-2020)/ Homenaje a Diane Rodriguez (1951-2020) pg 53 2 1. Patroncito (Boss) mask used in No Saco Nada de la Escuela (I Don’t Get Anything Out of School), paper maché, ca. 1969. Courtesy of El Teatro Campesino. 2. United Farm Workers, flag prop, fabric and wood, ca. 1969. Courtesy of El Teatro Campesino. 1. Máscara del Patroncito, utilizada en No Saco Nada de la Escuela, papel maché, ca. 1969. Cortesía de El Teatro Campesino. 2. Bandera de utilería, Sindicato de Trabajadores Campesinos (UFW, United Farm Workers), ca. 1969. Cortesía de El Teatro Campesino. 3 In 1965, El Teatro Campesino was founded in California on the picket lines of the Delano Grape Strike.