{"title":"Hugo Moreno, Donde se acaba el norte","authors":"Daryl Spurlock","doi":"10.2979/chiricu.6.2.14","DOIUrl":"https://doi.org/10.2979/chiricu.6.2.14","url":null,"abstract":"","PeriodicalId":240236,"journal":{"name":"Chiricú Journal: Latina/o Literatures, Arts, and Cultures","volume":"156 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116460843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Carmen Rivera's play La Gringa fosters women's empowerment through the main character María's newfound confidence in her search for a sense of self. However, this essay argues that the play nonetheless portrays problematic stereotypical gender roles. In contrast to María's generally accepting and amorous male family members, her female relatives convey hostility toward her. María receives mentorship from her Tío Manolo, but she fails to receive any such support from most of her family and instead turns to her uncle's spiritual source, Atabey, the Taíno female supernatural being. Although María finds liberation through Atabey, the play's limited representation of this deity proves problematic given her invisibility, Manolo's role as mediator, and subsequent exploitation by Manolo. Nonetheless, through Atabey's intervention, the women resolve the tensions in their relationship. Although the character representations perpetuate gendered stereotypes, La Gringa complicates historically stringent gender roles and problematizes patriarchal systems.
{"title":"Tensions between Female Representation and Female Empowerment in Carmen Rivera's La Gringa","authors":"Aileen Vezeau","doi":"10.2979/chiricu.6.2.05","DOIUrl":"https://doi.org/10.2979/chiricu.6.2.05","url":null,"abstract":"Abstract:Carmen Rivera's play La Gringa fosters women's empowerment through the main character María's newfound confidence in her search for a sense of self. However, this essay argues that the play nonetheless portrays problematic stereotypical gender roles. In contrast to María's generally accepting and amorous male family members, her female relatives convey hostility toward her. María receives mentorship from her Tío Manolo, but she fails to receive any such support from most of her family and instead turns to her uncle's spiritual source, Atabey, the Taíno female supernatural being. Although María finds liberation through Atabey, the play's limited representation of this deity proves problematic given her invisibility, Manolo's role as mediator, and subsequent exploitation by Manolo. Nonetheless, through Atabey's intervention, the women resolve the tensions in their relationship. Although the character representations perpetuate gendered stereotypes, La Gringa complicates historically stringent gender roles and problematizes patriarchal systems.","PeriodicalId":240236,"journal":{"name":"Chiricú Journal: Latina/o Literatures, Arts, and Cultures","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133632490","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The work of Laura Aguilar, a photographer and lifelong Angeleno, often foregrounds her intersecting queer, Chicana, fat, and dyslexic identities. This reading addresses Aguilar's claim to power in object-hood, actualizing a selfhood beyond the limits of subjectivity or negation by staging opacity in her photographs. Aguilar engages in what Uri McMillan calls "prosthetic performance": co-significations by an animate body and an inanimate but catalytic thing, or actuant. Layering objects upon objects, Aguilar's prosthetic performances refract normative, dominant gazes that would overdetermine the bounds of her selfhood according to the markings her body bears. She plainly addresses the trauma of misrecognition as a queer Chicana, but her performances are neither defined by her pain nor reducible to gestures of refusal. The opacity of Aguilar's flesh subverts photographic truth effects, making the archive another actuant in her performance of self-becoming and potentiality. This paper sutures critical discourses surrounding Aguilar, braiding foundational analyses of her oeuvre at their intersections with Black and Chicana feminisms, performance studies, and new materialist theorizations of the object.
{"title":"The Object Selving of Laura Aguilar: Queer Chicana Opacity and the Archive Prosthetic","authors":"Jay Buchanan","doi":"10.2979/chiricu.6.2.04","DOIUrl":"https://doi.org/10.2979/chiricu.6.2.04","url":null,"abstract":"Abstract:The work of Laura Aguilar, a photographer and lifelong Angeleno, often foregrounds her intersecting queer, Chicana, fat, and dyslexic identities. This reading addresses Aguilar's claim to power in object-hood, actualizing a selfhood beyond the limits of subjectivity or negation by staging opacity in her photographs. Aguilar engages in what Uri McMillan calls \"prosthetic performance\": co-significations by an animate body and an inanimate but catalytic thing, or actuant. Layering objects upon objects, Aguilar's prosthetic performances refract normative, dominant gazes that would overdetermine the bounds of her selfhood according to the markings her body bears. She plainly addresses the trauma of misrecognition as a queer Chicana, but her performances are neither defined by her pain nor reducible to gestures of refusal. The opacity of Aguilar's flesh subverts photographic truth effects, making the archive another actuant in her performance of self-becoming and potentiality. This paper sutures critical discourses surrounding Aguilar, braiding foundational analyses of her oeuvre at their intersections with Black and Chicana feminisms, performance studies, and new materialist theorizations of the object.","PeriodicalId":240236,"journal":{"name":"Chiricú Journal: Latina/o Literatures, Arts, and Cultures","volume":"304 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131444834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Red slaves (native-Americans) are used only for domestic work in Surinam because they are too weak to work in the fields. Negroes are thus needed for fieldwork. The difficulties in this case are not the result of a lack of coercive measures, but the natives in this part of the world lack ability and durability. —Immanuel Kant, “Von der verschiedenen Racen der Menschen” [“Of the Different Human Races”]
{"title":"Three Odes in G#","authors":"Jeremy Jacob Peretz","doi":"10.2979/chiricu.6.2.08","DOIUrl":"https://doi.org/10.2979/chiricu.6.2.08","url":null,"abstract":"Red slaves (native-Americans) are used only for domestic work in Surinam because they are too weak to work in the fields. Negroes are thus needed for fieldwork. The difficulties in this case are not the result of a lack of coercive measures, but the natives in this part of the world lack ability and durability. —Immanuel Kant, “Von der verschiedenen Racen der Menschen” [“Of the Different Human Races”]","PeriodicalId":240236,"journal":{"name":"Chiricú Journal: Latina/o Literatures, Arts, and Cultures","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130298778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Relics of a Childhood","authors":"Tak Erzinger","doi":"10.2979/chiricu.6.2.06","DOIUrl":"https://doi.org/10.2979/chiricu.6.2.06","url":null,"abstract":"","PeriodicalId":240236,"journal":{"name":"Chiricú Journal: Latina/o Literatures, Arts, and Cultures","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128436320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay focuses on Ernesto Galarza’s classic migrant autobiography Barrio Boy: The Story of a Boy’s Acculturation (1971). In this essay I demonstrate how Galarza uses the barrio space of Sacramento during the early 1920s to contest pressures of assimilation and pochismo. I argue that Galarza’s use of urban space allows him to reconceptualize the place of culture in the city in order to foster a more integrative transcultural and communal narrative. The location of the barrio as the physical and psychic place of la raza (Galarza’s term) provides Mexican immigrants in Sacramento a public space in which to openly practice cultural traditions. The argument is supported by two subsections within the essay. The first demonstrates how the barrio space provides Mexican culture “visibility” within the city’s geography; this allows the colonia to become the symbolic central space for the community. In the second, I show how the physical layout of the barrio space allows the young Galarza to receive an alternative barrio-based education on the value of cultural self-affirmation.
摘要:本文以埃内斯托·加拉扎的经典移民自传《Barrio Boy: The Story of a Boy’s Acculturation》(1971)为研究对象。在这篇文章中，我展示了Galarza如何在20世纪20年代早期利用萨克拉门托的barrio空间来对抗同化和pochmo的压力。我认为Galarza对城市空间的使用使他能够重新概念化城市中的文化位置，以促进更综合的跨文化和公共叙事。barrio的位置作为la raza (Galarza的术语)的物理和精神场所，为萨克拉门托的墨西哥移民提供了一个公开实践文化传统的公共空间。该论点由文章中的两个小节支持。第一个展示了barrio空间如何在城市地理中提供墨西哥文化的“可见性”;这使得殖民地成为社区的象征性中心空间。在第二部分，我展示了barrio空间的物理布局如何让年轻的Galarza接受另一种基于barrio的文化自我肯定价值的教育。
{"title":"Learning Places: The Urban Landscape as a Site of Contestation and Consequence in Ernesto Galarza’s Barrio Boy","authors":"W. Arcé","doi":"10.2979/chiricu.5.2.05","DOIUrl":"https://doi.org/10.2979/chiricu.5.2.05","url":null,"abstract":"Abstract:This essay focuses on Ernesto Galarza’s classic migrant autobiography Barrio Boy: The Story of a Boy’s Acculturation (1971). In this essay I demonstrate how Galarza uses the barrio space of Sacramento during the early 1920s to contest pressures of assimilation and pochismo. I argue that Galarza’s use of urban space allows him to reconceptualize the place of culture in the city in order to foster a more integrative transcultural and communal narrative. The location of the barrio as the physical and psychic place of la raza (Galarza’s term) provides Mexican immigrants in Sacramento a public space in which to openly practice cultural traditions. The argument is supported by two subsections within the essay. The first demonstrates how the barrio space provides Mexican culture “visibility” within the city’s geography; this allows the colonia to become the symbolic central space for the community. In the second, I show how the physical layout of the barrio space allows the young Galarza to receive an alternative barrio-based education on the value of cultural self-affirmation.","PeriodicalId":240236,"journal":{"name":"Chiricú Journal: Latina/o Literatures, Arts, and Cultures","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126744175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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