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Wild Tongues : Transnational Mexican Popular Culture / Rita E. Urquijo-Ruiz.

By: Material type: TextTextSeries: Chicana MattersPublisher: Austin : University of Texas Press, [2021]Copyright date: ©2012Description: 1 online resource (237 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780292739413
Subject(s): DDC classification:
  • 810.9/86872
LOC classification:
  • PS173.M4 U77 2012
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgments -- Preface: Wild Tongues/Lenguas Necias -- Chapter 1. From the Carpa to the Novel: The Peladito in Las aventuras de Don Chipote, o Cuando los pericos mamen -- Chapter 2 Las Peladitas: gender and humor in teatro de carpa -- Chapter 3 Transnational pachucada: artistic representations in film, theater, and music across the border -- Chapter 4 Of wild tongues and restless bodies: María Elena gaitán’s performance art -- Chapter 5 Beyond the comfort zone: Dan Guerrero’s ¡Gaytino! -- Conclusion Connecting the past with the present -- Notes -- Bibliography -- Index
Summary: Tracing the configuration of the slapstick, destitute Peladita/Peladito and the Pachuca/Pachuco (depicted in flashy zoot suits) from 1928 to 2004, Wild Tongues is an ambitious, extensive examination of social order in Mexican and Chicana/o cultural productions in literature, theater, film, music, and performance art. From the use of the Peladita and the Peladito as stock characters who criticized various aspects of the Mexican government in the 1920s and 1930s to contemporary performance art by María Elena Gaitán and Dan Guerrero, which yields a feminist and queer-studies interpretation, Rita Urquijo-Ruiz emphasizes the transnational capitalism at play in these comic voices. Her study encompasses both sides of the border, including the use of the Pachuca and the Pachuco as anti-establishment, marginal figures in the United States. The result is a historically grounded, interdisciplinary approach that reimagines the limitations of nation-centered thinking and reading. Beginning with Daniel Venegas’s 1928 novel, Las aventuras de don Chipote o Cuando los pericos mamen, Rita Urquijo-Ruiz’s Wild Tongues demonstrates early uses of the Peladito to call attention to the brutal physical demands placed on the undocumented Mexican laborer. It explores Teatro de Carpa (tent theater) in-depth as well, bringing to light the experience of Mexican Peladita Amelia Wilhelmy, whose “La Willy” was famous for portraying a cross-dressing male soldier who criticizes the failed Revolution. In numerous other explorations such as these, the political, economic, and social power of creativity continually takes center stage.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780292739413

Frontmatter -- Contents -- Acknowledgments -- Preface: Wild Tongues/Lenguas Necias -- Chapter 1. From the Carpa to the Novel: The Peladito in Las aventuras de Don Chipote, o Cuando los pericos mamen -- Chapter 2 Las Peladitas: gender and humor in teatro de carpa -- Chapter 3 Transnational pachucada: artistic representations in film, theater, and music across the border -- Chapter 4 Of wild tongues and restless bodies: María Elena gaitán’s performance art -- Chapter 5 Beyond the comfort zone: Dan Guerrero’s ¡Gaytino! -- Conclusion Connecting the past with the present -- Notes -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Tracing the configuration of the slapstick, destitute Peladita/Peladito and the Pachuca/Pachuco (depicted in flashy zoot suits) from 1928 to 2004, Wild Tongues is an ambitious, extensive examination of social order in Mexican and Chicana/o cultural productions in literature, theater, film, music, and performance art. From the use of the Peladita and the Peladito as stock characters who criticized various aspects of the Mexican government in the 1920s and 1930s to contemporary performance art by María Elena Gaitán and Dan Guerrero, which yields a feminist and queer-studies interpretation, Rita Urquijo-Ruiz emphasizes the transnational capitalism at play in these comic voices. Her study encompasses both sides of the border, including the use of the Pachuca and the Pachuco as anti-establishment, marginal figures in the United States. The result is a historically grounded, interdisciplinary approach that reimagines the limitations of nation-centered thinking and reading. Beginning with Daniel Venegas’s 1928 novel, Las aventuras de don Chipote o Cuando los pericos mamen, Rita Urquijo-Ruiz’s Wild Tongues demonstrates early uses of the Peladito to call attention to the brutal physical demands placed on the undocumented Mexican laborer. It explores Teatro de Carpa (tent theater) in-depth as well, bringing to light the experience of Mexican Peladita Amelia Wilhelmy, whose “La Willy” was famous for portraying a cross-dressing male soldier who criticizes the failed Revolution. In numerous other explorations such as these, the political, economic, and social power of creativity continually takes center stage.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)