abstract: Anchored to the Mexican-American and U.S. Latino historical experience, this dissertation examines how a Latino and Chicano Canibalia manifests itself in literary and cultural production across the different literary periods of the Southwest and the United States as formulated by Luis Leal and Ilan Stavans: Colonization: 1537-1810, Annexations: 1811-1898, Acculturation: 1898-1945, Upheaval: 1946-1979, and the fifth period, Into the Mainstream: 1980-Present. Theoretically, the study is primarily based on the work Canibalia: canibalismo, calibanismo, antropofagia cultural y consumo en América Latina (2005) by Carlos Jauregui. This Canibalia claims that the symbol Caliban, a character taken from the drama The Tempest (1611) by William Shakespeare and interpreted in Calibán (1971) by Roberto Fernández Retamar, is an indispensable reference that, today, links the discourse on Colonial Studies in Latin America and, for us, also in the Mexican-American Southwest. To particularize Jáuregui’s critical perspective, we draw from the work The Dialectics of Our America: Genealogy, Cultural Critique, and Literary History (1990) by José David Saldívar, whose call for a School of Caliban not only brings together all subaltern subject positions but marks the value of the “schooling” such an institution will provide. For Saldívar, Chicano and U.S. Latino scholarship needs to be incorporated into Caliban Studies due to a shared anti-imperial resistance. We also rely on the theoretical work Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking (2000) by Walter Mignolo, which links colonial difference to border thinking and examines contemporary dialogues on Orientalism, Occidentalism, and post-Occidentalism with regards to Latin American, Chicano, and U.S. Latino cultures. Our study interprets such works as I Am Joaquín (1967) by Rodolfo “Corky” Gonzales, the performances of Guillermo Gómez-Peña, the novels Peregrinos de Aztlán (1974) by Miguel Méndez and Entre la sed y el desierto (2004) by Óscar L. Cordero, US Latino films like Balseros (2002) and Which Way Home (2009), the Mexican film Acorazado (2010), and Chicano and US Latino poetry that features the literary symbol examined under our critical approach; in turn, we have learned that the Chicano and Latino Canibalia is a collection of cannibal discourses which have as an objective stereotyping civilians of Mexican and Latin American descent in the United States. Our critical discourse provides an understanding of today’s complex cultural ties between all countries. A Chicano and Latino Canibalia serves as a bridge of understanding regarding the discursive silences in the history of the United States and Latin America as well as the world. [TEXT IN SPANISH.] ABSTRACTO Anclada a la experiencia histórica mexicoamericana y eulatina, esta disertación examina cómo se manifiesta la Canibalia chicana y eulatina en su producción literaria y cultural de las distintas épocas del Sudoeste como diseñadas por Luis Leal y Ilan Stavans: la Colonización: 1537-1810, las Anexiones: 1811-1898, las Aculturaciones: 1898-1945, la Turbulencia: 1946-1979 y el quinto periodo, Hacia la corriente cultural dominante: 1980-Presente. Se fundamenta en la obra teórica Canibalia: canibalismo, calibanismo, antropofagia cultural y consumo en América Latina (2005) de Carlos Jáuregui. Esta Canibalia afirma que el personaje simbólico Caliban, tomado de la obra The Tempest (1611) de William Shakespeare e interpretado en el ensayo Calibán (1971) de Roberto Fernández Retamar, es un referente indispensable que hoy en día conecta los horizontes de los estudios de la colonialidad en América Latina y, para nosotros, en el Sudoeste de los Estados Unidos. Para profundizar la perspectiva crítica de Jáuregui, se acude el trabajo The Dialectics of Our America: Genealogy, Cultural Critique, and Literary History (1990) de José David Saldívar, cuyo llamado por una School of Caliban reúne no sólo las posiciones de los sujetos subalternos, sino que nos acerca a entender la schooling o escolarización sobre lo que significa su resistencia. Para Saldívar, la lucha chicana y eulatina se incorpora a los estudios calibánicos de resistencia anti-imperial. También, nos apoyamos en el trabajo Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking (2000) de Walter Mignolo, el cual liga la diferencia colonial con el pensamiento fronterizo y explica los diálogos contemporáneos alrededor del orientalismo, el occidentalismo y el post-occidentalismo con respecto a las culturas latinoamericana, chicana y eulatina. Nuestro estudio se ha enfocado en los trabajos Yo soy Joaquín (1967) de Rodolfo “Corky” Gonzales, las performances de Guillermo Gómez-Peña, las novelas Peregrinos de Aztlán (1974) de Miguel Méndez y Entre la sed y el desierto de Óscar L. Cordero, filmes eulatinos como Balseros (2002) and Which Way Home (2009), la película mexicana Acorazado (2010) y la producción de la poesía chicana y eulatina con el símbolo examinado bajo dicho enfoque crítico; como resultado, hemos aprendido que la Canibalia chicana y eulatina es un conjunto de discursos caníbales los cuales tienen por objetivo estereotipar a los ciudadanos estadounidenses de origen mexicano y latinoamericano en los Estados Unidos. Se trata de una nueva forma de entender los complicados lazos culturales que unen a los países de hoy en día. La Canibalia chicana y eulatina es el puente que conduce al entendimiento de los vacíos discursivos de la historia de los Estados Unidos y América Latina así como el mundo. / Dissertation/Thesis / Doctoral Dissertation Spanish 2015

This case study presents the language life history of an American woman of Mexican descent. The informant describes the ways in which her two languages, English and Spanish, developed and have been used throughout her life. She narrates how living with two languages has affected her in each period of her life. The informant's language life history provides insight into the ways in which immigrants who come to the United States live and adapt to a new country, culture, and language. The informant's narrative is a testimony of a person divided between two languages and two cultures. The methods used to elaborate the informant's language life history were ethnographic interviewing, observing, and event/network analysis. This language life history will promote understanding of issues such as bilingualism and its relationship to immigration in the United States, language maintenance or loss, language shift, and language choice and use. In the area of Teaching English as a Second Language, teachers are constantly faced with the above issues in their teaching environment. A more thorough comprehension of the experiences of second language learners could improve the skills of those teaching English as a Second Language.

While a university education is sold to students as something anyone can achieve, their particular social location influences who enters this space. Mexican American women, by virtue of their intersecting identities as racialized women in the US, have to adopt a particular identity if they are to succeed through the educational pipeline and into college. In this thesis, I explore the mechanics behind the construction of this identity at The University of Texas at Austin. To understand how this happens, I read the experiences of six Mexican American, female students through a Chicana feminist lens, particularly Anzaldúa’s mestiza consciousness. I discovered that if Mexicana/Chicana students are to “make it,” they have to adopt a “good student, nice Mexican woman” identity. In other words, to be considered good students, Mexican American women must also adopt a code of conduct that is acceptable to the white-centric and middle-class norms that dominate education, both at a K-12 level and at the university level. This behavior is uniquely tied to the social construction of Mexican American women as a threat to the United States because of their alleged hypersexuality and hyperfertility. Their ability to reproduce, biologically and culturally, means that young Mexican women must be able to show to white epistemic authorities that they have their sexuality and gender performance “under control.” However, even if they adopt this identity, their presence at the university is policed and regulated. As brown women, they are trespassers of a space that has historically been constructed as white and male. This results in students and faculty engaging in microaggressions that serve to Other the Mexican American women and erect new symbolic boundaries that maintain a racial and gender hierarchy in the university. While the students do not just accept these rules, adopting the identity of “good student, nice Mexican woman” limits how the students can defend themselves from microaggressions or challenge the racial and gender structure. Nevertheless, throughout this thesis I demonstrate that even within the constraints of the limited identity available to the students, they still resist dominant discourses and exercise agency to change their social situation. / text

This thesis uses autoethnographic research of the Mexican American art community in Austin, Texas to demonstrate how edgewalkers, people to move between multiple cultural worlds yet retain their own identity, become informal art educators through the process of transculturation. The work describes this cyclical and on-going process that includes curiosity, knowledge gathering, and awareness of self and others and the summation of these elements, which leads to transculturation. For this research, four informal art educators practicing in Austin were interviewed. Each of the collaborators practices art in different media including visual art, curating of exhibitions, performance, and graphic design. The descriptions and analysis of the researcher’s experiences along with those of the informal art educators reveal a third landscape, or an alternative space and identity, where multiple cultural worlds overlap into bicultural, bilingual and/or biconceptual environments. This thesis demonstrates how informal art education, made possible through transcultural experiences, is an effective tool in art education and culturally responsive instruction. / text

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"Mexican Americans Write Toward Justice in Texas, 1973 - 1982" examines literature produced in the course of struggles for justice conducted by Mexicans, Mexican Americans, and their allies, the origins of this literature, and its effects. Three areas -- police brutality, exploitation of farmworkers, and inequitable, inadequate public education - troubled Mexican Americans activists across the political spectrum. Additionally, many people were appalled by U.S. treatment of immigrants. The poetry and plays of Nephtalí De León, Heriberto Terán, Gil Scott-Heron, Carlos Morton, and an activist teatro in Houston exemplify a long tradition of cultural production that simultaneously mourns and organizes in response to violence against Mexicans in Texas. The Texas Farmworker Union (TFWU) newspaper, El Cuhamil , documents the cacophony of voices participating in farmworker mobilizations for social justice in Texas. El Cuhamil also reorients the narratives about farm worker organizing from a U.S.- centered "civil rights" perspective to a Mexican-centered one. Two U.S. Supreme Court decisions arising from Texas, San Antonio v. Rodríguez (1973) and Plyler v. Doe (1982), illustrate how federal courts began to retreat from the engagement with social justice that had characterized much civil rights jurisprudence between roughly 1946 and 1973. These decisions also reveal the contradictions at the heart of constitutional equal protection at its "best" or most effective. This dissertation seeks to understand how Mexicans and Mexican Americans tested a variety of rhetorical strategies - U.S. citizenship, Aztlán, the international working class, Catholic universalism, and human rights - to articulate their needs and desires and make claims in popular culture, labor organizing, and the law. I situate these writings historically and in U.S. Southwestern literature, Mexican American literature, U.S. civil rights jurisprudence, and Mexican intellectual traditions. A subsidiary contribution of this dissertation is its tentative exploration of the distinct trajectories of Mexican Americans in what is now the Texas Plains and Panhandle. The alienating sense of "nothingness" that some people attribute to this region derives from the conditions under which Anglo settlement began in the 1880s. Modernity, here, did not alter or overlap with the modes of production that preceded it, but violently obliterated them. / text

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The United States recently completed the construction of a new Consulate compound in an underdeveloped site in Ciudad Juarez, Chihuahua, Mexico. Mexican applicants for U.S. Immigrant Visas, particularly those who had previously entered the United States without inspection, are sent to the facility to apply through a mandatory personal interview. The interview process necessitates highly invasive medical exams at designated militarized facilities, followed by a series of interviews with consular officers. Applicants, many of whom are visiting Juarez for the first time, must wait in the city for days or weeks as they attempt to navigate the requirements. Even as the city has become more violent, the U.S. Consulate mission in Juarez has become an economic driver as it processes more immigrant visas than any other U.S. Consular office in the world. It is also the largest U.S. Consulate building on the planet and the immigration complex is drawing new migrants who are both seeking asylum through it and aiding in its construction. U.S. immigration policies and the administrative procedures that accompany them also serve to discipline immigrant visa applicants long before they arrive in Juarez as they navigate a system built on penalties and waivers. The effects of these policies transcend borders and citizenship, impacting not only the immigrant applicant, but their U.S. families as well. The normalization of violence towards Mexicans and their families is becoming entrenched in a culture of impunity, both in Mexico and the United States. The immigrant processing and maquiladora manufacturing that take place in Ciudad Juarez play a specific role in U.S. / Mexico relations and are representative of the intersection of immigration policy, labor desires, and neoliberal and post-neoliberal policies of structural violence. The United States has developed, in Juarez, an economic development and security program and immigrant processing center concomitantly and Mexico has worked lockstep to fortify this position. I examine this historical occurrence, and the experiences of immigrant applicants and their families, using Foucault’s theories of discipline. / text

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