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001			187924
003			IT-RoAPU
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008			220426t20212012txu fo d z eng d
010			_a2011048570
020			_a9780292739413 _qPDF
024	7		_a10.7560/723849 _2doi
035			_a(DE-B1597)9780292739413
035			_a(DE-B1597)587910
035			_a(OCoLC)1286806091
040			_aDE-B1597 _beng _cDE-B1597 _erda
050	0	0	_aPS173.M4 _bU77 2012
072		7	_aSOC000000 _2bisacsh
082	0	4	_a810.9/86872
084			_aonline - DeGruyter
100	1		_aUrquijo-Ruiz, Rita E. _eautore
245	1	0	_aWild Tongues : _bTransnational Mexican Popular Culture / _cRita E. Urquijo-Ruiz.
264		1	_aAustin : _bUniversity of Texas Press, _c[2021]
264		4	_c©2012
300			_a1 online resource (237 p.)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
490	0		_aChicana Matters
505	0	0	_tFrontmatter -- _tContents -- _tAcknowledgments -- _tPreface: Wild Tongues/Lenguas Necias -- _tChapter 1. From the Carpa to the Novel: The Peladito in Las aventuras de Don Chipote, o Cuando los pericos mamen -- _tChapter 2 Las Peladitas: gender and humor in teatro de carpa -- _tChapter 3 Transnational pachucada: artistic representations in film, theater, and music across the border -- _tChapter 4 Of wild tongues and restless bodies: María Elena gaitán’s performance art -- _tChapter 5 Beyond the comfort zone: Dan Guerrero’s ¡Gaytino! -- _tConclusion Connecting the past with the present -- _tNotes -- _tBibliography -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aTracing 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.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)
650		0	_aMexican American arts _xHistory _y20th century.
650		0	_aMexican American literature (Spanish) _y20th century _xHistory and criticism.
650		0	_aMexican Americans in literature.
650		0	_aMexican Americans _xSocial life and customs _y20th century.
650		0	_aMexicans _zUnited States _xEthnic identity.
650		7	_aSOCIAL SCIENCE / General. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.7560/723849
856	4	0	_uhttps://www.degruyter.com/isbn/9780292739413
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780292739413/original
942			_cEB
999			_c187924 _d187924