No description available.

La Llorona Don’t Swim The LA River is a collection of poems that explore the issues of growing up in East LA as a young, bilingual Chicana. These poems are an attempt to capture my experiences through story telling by blending Spanish, English, street slang, and the casual spoken diction. The speaker embodies several versions of the trickster figure: linguistic tricksterism, cultural tricksterism, gender tricksterism, and religious tricksterism. She navigates linguistic tricksterism through the code switching of English and Spanish, using Spanglish as her main dialect, and often blending in slang, creating Slanglish. In cultural tricksterism, she focuses on the experiences of the working class, the migrant workers, the bilingual speakers, and the overall generational changes in the Mexican culture. The speaker constantly searches for the meaning of what it is to be a woman and what it means to love through gender tricksterism. She looks to her mother, la Virgen De Guadalupe, and La Llorona to try and understand her complex identity. La Llorona Don’t Swim The LA River works to form a different type of spirituality through sacred humanism from the point of view of the religious trickster. These poems pose the question: where else can God be found other than church and the bible? The speaker seeks God in tattoos, in punk music, in the moshpit, in the city, and in people. She forms a new approach to tradition through the persistence of kind rebellion, her own personal version of love.

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-11-14T13:45:52Z No. of bitstreams: 2 Dissertação - Lucas Monteiro dos Santos - 2018.pdf: 3504501 bytes, checksum: 0d4c0230e5a5a9653bc0e517810747c3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-11-19T10:21:59Z (GMT) No. of bitstreams: 2 Dissertação - Lucas Monteiro dos Santos - 2018.pdf: 3504501 bytes, checksum: 0d4c0230e5a5a9653bc0e517810747c3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-11-19T10:22:00Z (GMT). No. of bitstreams: 2 Dissertação - Lucas Monteiro dos Santos - 2018.pdf: 3504501 bytes, checksum: 0d4c0230e5a5a9653bc0e517810747c3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-10-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The following research talks about the rock and roll and phenomenons that contextualize with this theme, for example the use of the spaces for the fans e the ways of sociabilities that is possible to find in these spaces that the events happen. Talks about the historical processes of this musical style, fundamental piece for the comprehension, and about the moshpit too, corporal performance of the crowd that is completely associated with the experience to be in a rock and roll event. Field researches happened on Goiania, Goiás, and narratives were done about how these events happen and how the moshpit performance happen. The methodological path used was the cultural performance studies, that are coherent with the theme. It is possible to conclude that the ambience that rise when these events happen are full of liminarities and freedom, and all of this context ethic and aesthetical of rock and roll, moshpit and performance comes with a group of restored behaviors e a incorporated knowledge for the people that integrate the scenario and these ambiances. / A seguinte pesquisa aborda sobre o rock and roll e fenômenos que venham se contextualizar com essa temática, a exemplo do uso dos espaços pelos fãs e das formas de sociabilidades que são encontradas nesses espaços em que os eventos acontecem. Aborda-se sobre os processos históricos deste estilo musical, elemento fundamental para sua compreensão, e também sobre o moshpit, performance corporal da plateia que está completamente associada à experiência de se participar de um evento de rock and roll. Pesquisas de campo ocorreram na cidade de Goiânia, Goiás, e foram executadas narrativas de como acontecem os eventos e de como ocorre a performance do moshpit. O caminho metodológico utilizado foi dos estudos em performances culturais, que são coerentes com a temática abordada. É possível concluir que o ambiente que vem à tona quando esses eventos são executados é repleto de liminaridades e de liberdade, e que todo esse contexto ético e estético de rock and roll, moshpit e performance vem de um conjunto de comportamentos restaurados e de um conhecimento incorporado por parte das pessoas que integram esse cenário e esses ambientes.