This thesis takes a feminist and spatial approach to the analysis of ire'ne lara silva's collection of short stories flesh to bone, a continuation of the Anzaldúan body of thought. The thesis introduces two aspects–spiritual and spatial–to the wounds suffered by the Chicana collective Self which can be found within the characters and plotlines of lara silva's stories, and which had previously been outlined by Anzaldúa herself. This thesis also explains in depth the steps necessary to achieving the never-ending Coyolxauhqui Imperative, which is Anzaldúa's idea that to heal the collective Self, individuals must continue to create and tell the stories of our ancestors and ourselves as survivors instead of victims. Throughout this analysis, it is elucidated that lara silva has created herself a new theory to add to the Anzaldúan framework, called Tomiccama Tomiccanacayo, which translates from Nahuatl to mean: "We are protected by the hands and bodies of our ancestors". Thus, this thesis finds that, within flesh to bone, this new theory is asserted as a method of continuous healing and as an addendum to Anzaldúa's Coyolxauhqui Imperative. This study adds lara silva into the Anzaldúan academe and explains her words' significance to Chicana spatiality. My argument for the existence of lara silva's theory is important because of a continued necessity for collective female healing and the creation of art reaffirming the female Self to new generations of daughters becoming women.

To challenge the dominant Mexican narrative of racial democracy that traditionally invisibilizes and delegitimizes those who have been affected by racism, it is imperative to deconstruct the discourse on mestizaje as a central component of Mexican national identity. The notion of México as a racial democracy is accepted throughout México, and is most evident in the nation’s culture and politics. To acknowledge that racism exists in México is essential, since it is impossible to work with a claim that people do not see, dismiss, or do not believe exists. Mestizaje has long been the promise of racial equality, but this uncritical and unexamined positioning of mestizaje ignores or trivializes the colonial and present day baggage that accompanies the term. The uncritical celebration of mestizaje needs to be supplanted with a reexamination of colonialism and capitalism, both of which influenced ideological theories and racial formation from the late sixteenth century through the twentieth century in the Americas.

In an attempt to narrow a perceived gap between two literary fields, this thesis provides a comparative analysis of Luis Alberto Urrea’s The Humminbird’s Daughter, and Leslie Marmon Silko’s Almanac of the Dead. I explore and critique the ways in which Luis Alberto Urrea mobilizes mestizaje and Chicana/o nationalist rhetoric. I argue that mestizaje stems from colonial representations that inscribe indigenous people into a narrative of erasure. Furthermore, I address Leslie Marmon Silko’s critique of mestizaje within Almanac of the Dead. / text

Neoliberal has bee largely responsible for the creation of a narcoestado. As the Mexican state abandon its previous cultural projects such as education, employment, and social services, economic void increased. Narco-traffickers have increasingly filled this vacuum. Arguably, the weaken pillars of Mexican society allowed narco-trafficking to penetrate the areas once fulfilled by the state. It has led to the recruitment of economically dislocated farmers and citizens to turn to narco-trafficking for financial stability. Although, the state and narco-traffickers at times compete with each other to fulfill some of these functions, they also at times co-exist and merge into what has been referred to as narcoestado. This metamorphosis between the state and narco-traffickers has been responsible for the increasing impunity of violence and crime in México. It is also a factor in the continuous disenfranchisement of the rights Mexican citizens. The ubiquitous violence and fear have altered the ways Mexicans negotiate their rights. It has led to many resistance efforts and organizing across the country with the most notable example of autodefesas.

This is a document explaining in detail my artistic practice from childhood to the day I graduated VCU. It will perhaps only be understood by those who have themselves already felt such ways, or similar ways – words and ghosts are mostly invisible.

Utilizando estos métodos que resaltan un “énfasis en la entrevista cualitativa” para poder colectar las historias personales de los Braceros y sus familias, en esta tesis analizo las historias orales de mi familia que han sido transmitidas de generación en generación (Uribe et al.). Específicamente, me enfoco en las experiencias de cuatro generaciones: un Bracero (mi Bisabuelo Filiberto) y su esposa, sus hijos (es decir, mi Abuelita Luisa), sus nietos (mis padres), y su bisnieta (yo). El propósito de este enfoque en la memoria intergeneracional de las experiencias de mi Bisabuelo Filiberto y sus descendientes en el Programa Bracero es resaltar los efectos que el Programa Bracero ha tenido en múltiples generaciones de las familias involucradas en él.

Latinas in college are systematically disadvantaged and face many unique stressors and adversities such as race-related discrimination and family stress; however, perceived availability of social support has been shown to have positive effects on students, such as positively influencing adjustment and academic persistence. In an effort to determine what factors help Latinas thrive in college, an experimental study with a 2x2 factorial design is proposed to investigate if in the face of adversity, does peer support/community preserve the thriving of Latinas in college. Community is defined by sense of membership and validation, and both will be manipulated in the in-lab community experience through a confederate (race of the confederate x support offered). The results are expected to show that main effects in the influence of validation on thriving and main effects in the influence of sense of membership on thriving. Furthermore, an interaction is predicted such that the effect of being validated depends on whether or not the confederate is Latina. It is also predicted that participants will feel a higher sense of communality with Latina students than Latinx students. The proposed study works to add to the small body of literature that highlights ways to help underrepresented students in higher education, rather than simply investigating factors that work to their detriment. The implications of the research are to work to legitimize community as a form of self-care and support, so that institutions help foster and support Latina communities on college campuses.

Representations of Chicana bodies in dominant popular culture have historically been contested by Chicana feminists’ own self-representations through art and literature. However, few works examine representations of fat Chicana bodies in literature by Chicana feminists. Through a literary analysis of The Panza Monologues and Real Women Have Curves, as well as an artistic analysis of Laura Aguilar’s photography and through the lenses of Chicanx, queer, and fat studies, my research bridges a gap between Chicana feminist work and fat studies. It looks at how fatness is constructed through the self-representation of women’s bodies. Ultimately, I argue that these art objects are sites of fat Chicana artivism—activism through the use of art—that call for body liberation, respond to the “normative body” required by a colonial legacy of symbolic and physical violence against Chicanx women, and pave the way for further creative artistic and literary work centered on fat Chicanxs to be done.

This thesis discusses the relationship between space (physical and figurative) and sovereign power, with respect to the history of the United States' immigration and boundary policy. It examines spatial organization as a social product, and simultaneously a producer of mainstream associations of illegal activity at the border with Mexico. It begins with a brief introduction to a spatially informed analytical framework, a history of relevant United States' immigration policy. The paper then uses newspaper coverage from the 1970s and 1980s to examine the local and national rise of xenophobia in the United States, and the normalization of boundary control and associated illegality. The socio-spatial evaluation of federal policy and public sentiment culminates with a discussion of the border policies developed by the United States Border Patrol in the early 1990s. The strategy introduced focused on preventing immigration by deterring migrants from the attempt. This plan was necessarily spatial in nature as it sought to displace migrants from ideal crossing spaces to sites vulnerable to capture by the Border Patrol. Ultimately, the history of the United States boundary with Mexico demonstrates the power of controlling a territory, and controlling a social narrative.

This work explores soundscape and histories of sound technologies as they relate to the formation of subjectivity. It proposes voice as a cultural practice and a means for theorizing one’s own subjectivity. What is modernity in sonic terms? What does it mean to listen deeply in an industrialized society? What does it mean to be a socialized listener, a revolutionized listener? How might voice be taken as an avatar of the self? How does the auditory realm allow for embodied theorizing that responds to systems of power and oppressed subjectivities?