Bibliographies thématiques / Mexican-American fiction

Littérature scientifique sur le sujet « Mexican-American fiction »

Auteur : Grafiati
Publié le 25 juillet 2024

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Articles de revues sur le sujet "Mexican-American fiction"

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Dwyer, Angelique K. « Gringos Mexicanos ». PORTAL Journal of Multidisciplinary International Studies 16, no 1-2 (13 novembre 2019) : 160–62. http://dx.doi.org/10.5130/pjmis.v16i1-2.6475.

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This creative non-fiction piece written in Spanglish called “Gringos Mexicanos" stems from feelings of nostalgia and unrest within biculturalism and national identity. The piece centers around the degrees of belonging that two Americans siblings raised in Mexico have when contrasted to each other and to (Mexican or American) peer groups. The narrative voice in this piece provides a unique perspective broadening dialogue(s) on Mexican American identity.
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Wang, Xuan, et Jun Hu. « Medical (In)Justice of Mexican-American Migrant Workers in Under the Feet of Jesus ». Theory and Practice in Language Studies 13, no 5 (1 mai 2023) : 1182–90. http://dx.doi.org/10.17507/tpls.1305.11.

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Helena Maria Viramontes’s representative fiction, Under the Feet of Jesus, explores the oppression and resistance of Mexican-American migrant workers (Chicanos) by revealing racial and gender problems. This article will first demonstrate the contamination of Mexican-American migrants’ working environment in this novel. Furthermore, drawing on medical ethics and other interdisciplinary studies, it will argue against the medical injustice regarding the mistreatment of Mexican-American migrants’ bodies because of the white class’s supremacy, and will state Chicano workers’ resistances and pursuits in facing unfair medical systems. On top of that, this paper would like to propose that empathy and mutual kindness from community members are the key solutions to show resistance to medical injustice.
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Dwyer, Angelique K. « Simón ». PORTAL Journal of Multidisciplinary International Studies 16, no 1-2 (13 novembre 2019) : 153–55. http://dx.doi.org/10.5130/pjmis.v16i1-2.6662.

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This creative non-fiction piece written in Spanglish is called "Simón.” The overarching themes of this story are death, spirituality, animals and pets in a non-conventional American family raised in Mexico. The narrative voice in this piece provides a unique perspective broadening dialogue(s) on Mexican American identity.
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Smith, Paul Julian. « Screenings ». Film Quarterly 71, no 2 (2017) : 72–77. http://dx.doi.org/10.1525/fq.2017.71.2.72.

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The seventh edition of the Statistical Yearbook of Mexican Cinema, which covers 2016, was launched at the Guadalajara International Film Festival by IMCINE (Instituto Méxicano de Cinematografía), the national film institute. Some months later the eleventh edition of the Ibero-American Observatory of Television Fiction, also devoted to 2016, was presented by international research group OBITEL (Ibero-American Observatory of Television Fiction) at the Autonomous University of Barcelona. Both surveys compile exhaustive quantitative data and track qualitative trends in their respective media. This year, the pair offer invaluable evidence for evolution and convergence in the Mexican (and Spanish American) audiovisual field, thereby providing an account of the most important trends. Sometimes the findings can be counterintuitive, proving for example that (contrary to industry complaints) the Mexican government does indeed strongly support cinema and that (contrary to journalistic rumors of its demise) broadcast television is by no means dead in the region. But the handbooks also provide essential context for Netflix's first production in Mexico — and one of the most important and innovative series of recent years — the soccer comedy, Club de Cuervos ([Crows Club], 2015–). In keeping with this changing scene, OBITEL focused its case study of transmedia on Netflix's limited series Club de Cuervos. As noted in the handbook, the producers' aim was to avoid “telenovelizing” its content. Club de Cuervos exemplifies the trends seen in current Mexican film and television production, even as it blurs the distinction between the two in typical Netflix fashion. Mexican industry insiders still resent the U.S. domination of film distribution in theaters, and Club de Cuervos raises those stakes.
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Dwyer, Angelique K. « La Manda ». PORTAL Journal of Multidisciplinary International Studies 16, no 1-2 (13 novembre 2019) : 156–59. http://dx.doi.org/10.5130/pjmis.v16i1-2.6663.

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This creative non-fiction piece written in Spanglish called “La Manda" reflects upon faith and ritual practices from a personal and transnational perspective. From dance, to fairs, to nun school, this story focuses on the difference in religious perspective held by two American siblings raised in Mexico. The narrative voice in this piece provides a unique perspective broadening dialogue(s) on Mexican American identity.
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Fernández, Salvador C. « Transatlantic Borders : Spanish and Mexican/American Literary Relations in Detective Fiction ». Chasqui 35 (2006) : 46. http://dx.doi.org/10.2307/29742148.

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Medina, Carmen L. « Drama Wor(l)ds : Explorations of Latina/o Realistic Fiction ». Language Arts 81, no 4 (1 mars 2004) : 272–82. http://dx.doi.org/10.58680/la20042905.

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This article looks at fifth graders’ interpretations of Friends from the other side/Amigos del tro lado by Chicana/Mexican American feminist writer Gloria Anzaldúa (1993). Drama-in-Education strategies were the pedagogical tools used to facilitate the students’ engagement in dialogues that moved them from understanding aspects of the life and social reality of Mexican undocumented immigrants on the US/Mexico border to questioning issues of citizenship and justice. Three (3) overarching themes were identified that extended through the dialogues and the drama: First, Making sense of the issues, where the students began to talk and make sense of social issues presented in the text such as citizenship, representation and language. Second, Friendship and compassion. Finally, Becoming critical: Understanding the multiple perspectives involved.
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Dwyer, Angelique K. « Doce Horas : A Family Border Tale ». PORTAL Journal of Multidisciplinary International Studies 16, no 1-2 (13 novembre 2019) : 163–65. http://dx.doi.org/10.5130/pjmis.v16i1-2.6474.

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This creative non-fiction piece written in Spanglish called "Doce horas: A Family Border Tale" comically narrates my family's adventure crossing the U.S./Mexico border by car a few days after Three Kings Day (Epiphany). The story deals with identity negotiation, biculturalism and bilingualism in a non-conventional American family raised in Mexico. The narrative voice in my piece provides a unique perspective broadening dialogue(s) on Mexican American identity.
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LÓPEZ, MARISSA. « ¿Soy Emo, Y Qué ? Sad Kids, Punkera Dykes and the Latin@ Public Sphere ». Journal of American Studies 46, no 4 (31 août 2012) : 895–918. http://dx.doi.org/10.1017/s0021875812001272.

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In March and April of 2008, emo youth in Mexican and Latin American metropoles were vulnerable to violent, physical attacks, which the world witnessed, aghast, via YouTube. Journalists, pundits, and cultural commentators around the globe wondered, first, how to define “emo”; second, how to explain its presence in Mexico and Latin America; and third, whence such a violent reaction? This essay tackles those questions, and tries to think through emo to something more than the post-NAFTA angst to which it has been commonly ascribed in the US and Mexican media. Tracing a route from US Chicano punk and new wave, to Mexico's self-proclaimed emo youth, to Myriam Gurba's short fiction featuring southern California's Chicana dyke-punk communities, I ask how emo travels, and how these highly self-conscious and very public performances of affect speak to the intersections of race and gender in twenty-first-century Latin@ and Latin American youth culture.
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Hedrick, Tace. « “The Spirits Talk to Us” : Regionalism, Poverty, and Romance in Mexican American Gothic Fiction ». Studies in the Novel 49, no 3 (2017) : 322–40. http://dx.doi.org/10.1353/sdn.2017.0033.

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Thèses sur le sujet "Mexican-American fiction"

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Andrade, Emily Y. « Illegal immigration : 6 stories from an American family ». Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1365172.

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Illegal Immigration: Six Stories from an American Family is a collection of stories derived from and inspired by the author's personal life experiences, dreams, and family history, as a Mexican American woman. The stories also hold distinct archetypal patterns, images, storylines and symbolism due to the author's connection to the collective unconscious through meditation. The stories tell character driven stories of adversity, and the search for home, and identity by linking main characters to their family members in each story. The collection as a whole reveals generational patterns, histories and connections not only present in the matriarchal bloodline of the collection, but from one human to another. The stories beckon the reader into an alternate reality created by these archetypal patterns inherent in all humans, in an attempt to transcend genres and find a place within the psyche where anything is possible.
Illegal immigration -- Marco and Margarita -- La muerte de mi padre -- Together again -- Vivi and Ricardo -- The healer.
Department of English
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Craggett, Courtney 1986. « "Goodness and Mercy" ». Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849684/.

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The stories in this collection represent an increasingly transcultural world by exploring the intersection of cultures and identities in border spaces, particularly the Mexican-American border. Characters, regardless of ethnicity, experience the effects of migration and deportation in schools, hometowns, relationships, and elsewhere. The collection as a whole focuses on the issues and themes found in Mexican-American literature, such as loss, separation, and the search for identity.
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Sanchez, Maria Ruth Noriega. « Magic realism in contemporary American women's fiction ». Thesis, University of Sheffield, 2001. http://etheses.whiterose.ac.uk/3502/.

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The aim of the study is to illustrate the importance of magic realism in American women's fiction in the late twentieth century. The term magic realism, which has traditionally been associated with Latin American men's writing, has been known by different, and often contradictory, definitions. It may be argued that, properly defined, it can be a valid term to describe a number of characteristics common to a corpus of work, and can be considered as an aesthetic category different from others such as Surrealism or Fantastic literature, with which it has often been compared. Furthermore, magic realism has viability as a contemporary international mode and is particularly suitable to women writers from minority ethnic groups. The present study intends to draw relevant comparative analyses of uses of magic realism that show various formal and thematic interactions between separate literary traditions. The introduction offers an overview of the different conceptions and applications of the term since its origins within the area of painting, and suggests a working definition that can be effective for intensive textual analysis of several novels. In order to offer a new approach which can enable us to move away the paradigm of magic realism from Latin America towards a more multicultural framework, the focus will be on three geographical-cultural areas: African American, Native American and Chicano/Mexican writing. The implementation of magic realist strategies in African American writing will be examined in Toni Morrison's Song of Solomon (1977) and Gloria Naylor's Mama Day (1988), with a particular emphasis on the significance of African mythical background and the experience of dispossession and transference of culture. Magic realist elements in the novels Tracks (1988) by Louise Erdrich and Ceremony (1977) by Leslie Marmon Silko will be studied in the context of Native American oral tradition and cosmologies. The practice of magic realism on both sides of the U. S. - Mexico border will be explored in the novels So Far from God (1993), by the Chicana Ana Castillo, and Like Water for Chocolate (1989), by the Mexican Laura Esquivel. A description of the borderland culture in the American Southwest, as well as comparisons between North and Latin American uses of magic realism will be provided. Finally, some connections amongst the discussed literary traditions and further lines of research will be suggested.
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Cutler, John Alba. « Pochos, vatos, and other types of assimilation masculinities in Chicano literature, 1940-2004 / ». Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1680034831&sid=34&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Nuñez, Gabriela. « Investigating La Frontera : transnational space in contemporary Chicana/o and Mexican detective fiction / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3286241.

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Tobin, Stephen Christopher. « Visual Dystopias from Mexico’s Speculative Fiction : 1993-2008 ». The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437528785.

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Beard, Alexander Charles. « Narconovela : four case studies of the representation of drug trafficking in Mexican fiction ». Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:7eb6c837-cb79-4625-86dc-38267d36047a.

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In addition to coverage in the national and international media of the ongoing violence in Mexico related to the drug trade, there has been growing interest in fictional representations of the Mexican drug trade, its origins and social context. There is now a considerable body of written narratives that have been christened narconovelas. A small number of academic works has charted the emergence of the narconovela and sought to examine how drug traffickers have been represented and evaluated in fiction. However, very little attention has been paid to the aesthetic qualities of ‘narco-literature’. This study examines four of the most highly-regarded works in detail: Balas de plata (2008), by Élmer Mendoza; Los minutos negros (2006), by Martín Solares; Contrabando (2008), by Víctor Hugo Rascón Banda; and Trabajos del reino (2004), by Yuri Herrera. So embedded is the phenomenon of drug trafficking in northern Mexican culture, so suffused with cliché is its representation in other media, that to write about the topic with originality and ethical nuance is difficult. This thesis accounts for the distinct choices made by the four authors in question to address this difficulty of representation in the structure, style and tone of their novels. The self-awareness exhibited by these works of fiction regarding the challenges of representing their subject matter render them the most sophisticated examples yet created of the so-called narconovela.
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Erickson, Meiloni C. « Like Branches on a Tree ». ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2144.

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Garza, Kimberly Rose. « The Last Karankawas : Stories ». Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505288/.

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Garza, Kimberly Rose. « "The Last Karankawas" : Stories ». Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc1505288/.

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Livres sur le sujet "Mexican-American fiction"

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Soto, Gary. Pieces of the heart : New Chicano fiction. San Francisco : Chronicle Books, 1993.

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E, Lattin Vernon, dir. Contemporary Chicano fiction : A critical survey. Binghamton, N.Y : Bilingual Press/Editorial Bilingüe, 1986.

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Ray, González, dir. Mirrors beneath the earth : Short fiction by Chicano writers. Willimantic, CT : Curbstone Press, 1992.

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Magical realism in contemporary Chicano fiction. Frankfurt am Main : Vervuert Verlag, 1993.

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1961-, Johnson Rob, dir. Fantasmas : Supernatural stories by Mexican American writers. Tempe, Ariz : Bilingual Press/Editorial Bilingüe, 2001.

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Edward, Simmen, dir. North of the Rio Grande : The Mexican-American experience in short fiction. New York, N.Y., U.S.A : Penguin Group, 1992.

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Antonio, Gurpegui Palacios José, dir. Alejandro Morales : Fiction past, present, future perfect. Tempe, Ariz : Bilingual Review/Press, 1996.

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Lopez, Sam. Post-revolutionary Chicana literature : Memoir, folklore, and fiction of the border, 1900-1950. New York, NY : Routledge, 2007.

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The truth about Alicia and other stories. Tucson : University of Arizona Press, 2002.

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The magic curtain : the Mexican-American border in fiction, film, and song. Fort Worth : Texas Christian University Press, 2002.

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Chapitres de livres sur le sujet "Mexican-American fiction"

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Price, Brian L. « Paralysis and Redemption in Three Novels about the Mexican-American War ». Dans Cult of Defeat in Mexico’s Historical Fiction, 135–66. New York : Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137008565_5.

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Guerra, Aurelio Iván, et Gabriel Osuna Osuna. « Post-apocalyptic Violence in 21st-Century Mexican Fiction ». Dans The Routledge Handbook of Violence in Latin American Literature, 464–78. New York : Routledge, 2022. http://dx.doi.org/10.4324/9780367520069-34.

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Tonfoni, Virginia. « La frontera México-Estados Unidos en las novelas gráficas ». Dans America : il racconto di un continente | América : el relato de un continente. Venice : Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-319-9/023.

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This study aims to show the great possibilities of graphic novel as a medium to represent historical instances, through fiction or direct records and witnesses, by focusing on the work of the Italian cartoonist Andrea Ferraris. Churubusco, set in 1847, during the Mexican-American War, tells the story of Saint Patrick’s Battalion deserting from the American army. Being invited to expose the original panels of his graphic novel at the Istituto Italiano di Cultura in Los Angeles for the 150th anniversary of the American invasion, the author recollects records from the border and publishes a second work, La cicatrice, blinking an eye to graphic reportage and journalism.
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Limón, José E. « Al Norte toward Home ». Dans The Latina/o Midwest Reader, sous la direction de Omar Valerio-Jiménez, Santiago Vaquera-Vásquez et Claire F. Fox. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041211.003.0003.

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This essay traces the cultural connections between Mexican American in Texas and those in the Midwest. Beginning with the famous cattle drives from Texas to the Midwest in the mid-nineteenth century and the musical genre of the corrido to folk healing, contemporary rock music, and fiction, these two seemingly distinct communities created cultural linkages that helped them struggle against adversity in a manner best understood as an example of critical regionalism as developed by Kenneth Frampton, Fredric Jameson and Cheryl Herr.
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Murphy, Bernice M. « Conclusion : ‘It’s Our Time Now’ : Us (2019) and Desierto (2015) ». Dans The California Gothic in Fiction and Film, 253–83. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474497862.003.0009.

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Here, the California Gothic is discussed in relation to its tendency to privilege the perspectives of white characters of Anglo-American descent. It is argued that Jordan Peele’s 2019 film Us subtly reminds us from the outset that it is a narrative with California-specific resonances. It also reminds us that the California Gothic is overwhelmingly associated with white creators, white protagonists and the dramatization of middle-class white anxieties. Here, a revolution which begins in California is again one that will soon expand far beyond the spatial boundaries of the state. The final film discussed in this volume is the Mexican-made survival horror movie Desierto (2015), directed by Jonás Cuarón. In Desierto, the desperate immigrant’s journey towards the ‘Promised Land’ of California is relayed from a twenty-first century genre-movie perspective. It overlaps with (and updates) many of the themes discussed during the first chapter, particularly the feeling that the ‘right’ to enter the Eden of California is often won at a high cost. Here, however, the travellers in peril here are modern-day migrant workers desperate to make it across the border to be reunited with family members.
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Rodríguez, Amán Rosales. « Tiempo malgastado. Sobre el aplazamiento de la escritura en tres novelas hispanoamericanas ». Dans L’art de vivre, de survivre, de revivre. Approches littéraires. Le 50e anniversaire des études romanes à l’Université de Łódź. Wydawnictwo Uniwersytetu Łódzkiego, 2022. http://dx.doi.org/10.18778/8220-877-1.25.

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In the last decades, many studies have proliferated on the different ways in which a specific modality of consumer society, characterized by an unbridled acceleration of the rhythms of production and work, affects the lives of millions of people, especially in highly industrialized nations. These studies suggest that the individuals, under the pressure of an increasingly accelerated and frenetic pace of life, are compelled to perform certain roles and achieve certain goals that, if satisfactorily fulfilled, could guarantee success, or, at least, social acceptance. But what happens when you cannot or do not want to perform and fulfil such roles and expectations “fast” enough, when the individual prolongs or just abandons the entrusted task? In the richly diverse world of Latin American fiction, many writers have tackled this question. In base of three novels of different years: “El libro vacío” (1958), by the Mexican Josefina Vicens, “Wasabi” (1994), by the Argentine Alan Pauls, and “La novela luminosa” (2005), by the Uruguayan Mario Levrero, this paper comments the role played in contemporary fiction by the figure of the apathic, indolent or just slow-moving writer. The main characters of those novels seem to live in a slow-time dimension opposed to the fast one dominant in late modernity.
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Reid, Anna. « Aztec Revenants in Mexican Fiction ». Dans Doubles and Hybrids in Latin American Gothic, 147–62. Routledge, 2019. http://dx.doi.org/10.4324/9780367808136-11.

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« The Economic Displacement of Mexican American Migrant Labor : ». Dans Migrating Fictions, 154–87. Ohio State University Press, 2018. http://dx.doi.org/10.2307/j.ctt2204rsp.8.

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Pérez, Alberto Julián. « Esquivel’s Fiction in the Context of Latin American Women’s Writing ». Dans Laura Esquivel's Mexican Fictions, 208–24. Liverpool University Press, 2010. http://dx.doi.org/10.2307/jj.4116416.21.

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Garcia, John J. « Antebellum or Interbellum ? » Dans Situation Critical, 263–86. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059301-011.

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This chapter provides a critique of the antebellum period of American history in light of the 1846 US invasion of Mexico. Investigating the censoring of violent actions by American military personnel, the chapter argues that erasures found in texts by officers and soldiers fighting in Mexico shaped the war’s public meanings. Using critical bibliography, the essay makes several larger theoretical claims. First, the circumlocutions that structured cultural production of US military personnel must define the Mexican War’s place in US historiography. Second, the complex temporalities of writing and art from the Mexican War resonate with Siegfried Kracauer’s claim that periodizations are largely fictive, a connection between war and critical theory that invites broader critiques of reigning categories in early American history. Finally, representations of violence in the US military can be understood through the theories of Georges Bataille, whose conceptualization of early America was inflected by myths of violent sacrifice.
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