The literature written and being spoken by writers of Mexican origin in the United States continues to reformulate the notion of borders as well as subjects and forms within and beyond the house leitmotif. Writings by Sandra Cisneros, Pat Mora, and Tomás Rivera construct public and private spaces that merit validation in historical, literary, and cultural contexts. As architects, Chicana and Chicano writers challenge the nationalist canon and house. / text

This thesis uses in-depth analysis of historical Los Angeles Times articles to trace the changing representations of the Latino community in the media. Focusing on themes of patriotism and citizenship, this thesis draws out the subtleties of syntax and semantics that silently influence public opinion. The Zoot Suit Riots and the Chicano Moratorium serve as the main historical backdrop, leading to a concluding exploration of Donald Trump’s campaign rhetoric surrounding immigration and the Latino community.

In this thesis the author explores the notion that American Chicana/o literature serves as an interactive pedagogical site that nurtures a blend of academic and street discourse, proposing the writing of those who exist on the "downside" of the border of non-standard English and academic discourse-basic writers be acknowledged.

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My thesis proposes a theory of relational identity development in Chicana literature. Gloria Anzaldua's Borderlands/La Frontera offers an interpretation of Chicana identity that is largely based on historical models and mythology, which many scholars have found useful in interpreting Chicana literature. However, I contend that another text, Sandra Cisneros's The House on Mango Street, not only illustrates the need for an alternative paradigm for considering identity development, but in fact offers such an alternative. I argue that Cisneros shows a model for relational identity development, wherein the individual develops in the context of her community and is not determined solely by elements of myth or genealogy. In questioning the historical paradigm of identity development, I examine three key aspects associated with Chicana identity development: gender, home, and language. Employing the theories of Édouard Glissant, I discuss how individual identity development is better understood in terms of relationships and experience rather than historical models. For Chicanas, the roles of women have largely been interpreted as predetermined, set by the mythic figures La Malinche and La Virgen de Guadalupe. However, Cisneros's work shows that this historical tradition is less fruitful in understanding identity than recognizing individuals' experience in context of their relationships. With this communal understanding established, I question the common associations of home and Chicana identity. I argue that Cisneros challenges our very concept of home as she engages and counters the notions of theorist Gaston Bachelard. The idea of a house is metaphorical, becoming a space of communal belonging rather than a physical structure to separate individuals. Finally, I consider how both spoken and written language contribute to relational identity development. I argue that Cisneros's use of language demonstrates that not only does language provide the means for development within a community, but also the means for creation within that society. The theoretical implications of such a relational identity construct are not only an expansion of what is entailed in Chicana identity, but an invitation for broadening the community of theoretical discussion surrounding Chicana literature.

In an attempt to practice inclusive planning, this research project explores whether Broadway Avenue functions as an ethnic commercial strip and identifies social, physical, and economic components that contribute to the Latino neighborhood/ barrio. Using pilot studies Loukaitou-Sideris (2000), Loukaitou-Sideris (2002), Rojas (1993), Manzumdar et al. (2000), Main (2007), and Fernando (2007) as a foundation, this research uses a single case study in addition to several research methods: 42 random surveys, literature review and analysis, site observations/pictures, and land use survey. Various scholars write that barrios have unique physical, social, economic, and political attributes. A new aesthetic, art, symbols, type of businesses, music, community events, and vendors all add to social ambiance and physical design of the neighborhood (Rojas,1993). The findings reported in this case study highlight that the majority of the people who are present at any given time on Broadway Avenue are Latino immigrants from a lower socio-economic background. They visit Broadway’s Latino commercial strip from across Los Angeles County to shop, work, and for leisure purposes. Broadway Avenue is a festive, popular, spiritual, and political public space for many Latino immigrants. Many of the study participants are attracted to Broadway’s diversity, architecture, aesthetics, culturally themed stores and restaurants; showing that this Latino commercial strip possesses deep social, physical and economic significance. Contributions of this study include a detailed description about Broadway Avenue beyond the existing literature review. Survey results provide valuable information about what study participants would like to be preserved for Broadway’s future. This information provides user-driven recommendations for preservation and change on Broadway Avenue. Broadway Avenue between Second Street and Olympic Boulevard in downtown Los Angeles is the focused area of this thesis project to provide a qualitative description of the environment of a Latino commercial strip. This thesis provides recommendations to urban planners as they attempt to preserve cultural elements of Broadway’s Latino commercial strip.

The web of Mexican-American life is complex in its origins, its manifestations, and its degree of identification with or alienation from the dominant culture. A thesis of the length of this one can deal with all this complexity only in a superficial way. However, by a rather narrowly defined examination of a few children certain insights may be gained which could be used as a basis for generalization about other children of similar background, and perhaps even for some tentative generalizations about the problems of the Mexican-American community as a whole. With this purpose in mind -- to inquire intensively concerning the lives of a very few people for whatever insights may accure -- this study has been undertaken. It should be added that the present paper represents an ongoing study, and should be viewed as part of a larger whole. The conclusions drawn from it are offered at this stage for their suggestiveness rather than as an attempted "system" or explanation of Mexican-American life. Doubtless with further investigation new questions will arise, and these conclusions may require modification and refinement It is hoped that this continuing investigation may be of service to the peers of the children studied, who need much help in their travels along the way, and for whom, indeed, the route is not clear nor the goal certain.

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In the early 1990s, a series of gruesome murders of young women in Ciudad Juárez, a city located in the U.S.-Mexico border, shook the political landscape of Mexico. A decade later, the strange and violent murders, known as the feminicides or feminicidios of Juárez, reached international infamy across hemispheres and continents. During this time, the city and the cases became the subjects of an extensive body of scholarship and of any imaginable artistic medium (narrative, poetry, theater, performance, music, and so on). Eventually, the complexity and overexposure of the cases and the sociopolitical conditions of Ciudad Juárez placed them at the center of a paradoxical debate: on one hand, the work of activists, feminists, and scholars of social sciences (like anthropologists and sociologists) studied the murders as a localized example of a larger phenomenon of mysoginistic violence; on the other, journalistic and media investigations of Juárez understood the murders as the products of specific agents (serial killers, murderers, drug cartels, amongst others) and the fractures within the Mexican Nation-State. And yet, despite the expansion and overlapping of these discourses, fictional representations of Juárez remained tangential to this intricate debate. Thus, this research explores the different ways in which writers, artists, and filmmakers deployed and negotiated existent perspectives on the feminicides within fictional environments. As a result of the vast amount of published work available on Ciudad Juárez, I narrowed the objects of my research through a transnational scope. The resulting sample of texts transverses borders (Mexico and the U.S.), continents (Latin America and Europe), genres (fiction and nonfiction), and mediums (literature and film). The first chapter explores the connections of Sergio González Rodríguez’s Huesos en el desierto and Roberto Bolaño’s 2666 through the theoretical framework of the possible worlds of fiction. The second chapter moves to issues of representation, gender, and race through the analysis of two novels written by Chicana scholars: Alicia Gaspar de Alba’s Desert Blood: The Juárez Murders and Stella Pope Duarte’s If I Die in Juárez. Finally, the third chapter focuses on film representations of Juárez and the feminicides in the form of Gregory Nava’s Bordertown and Carlos Carrera’s Backyard/El Traspatio. / text