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The purpose of this study is to examine the role and effect of higher education on Chicana's religious beliefs and practices. It has been noted by Chicana scholars Theresa Delgadillo (2003) and Jeanette Rodriguez (2004) that Chicana students negotiate their religious and cultural ways of knowing with the new environment and ideas of a University. This thesis examines how this negotiation occurs and how Chicana students understand and create their religious identity during their college years.Using short questionnaires and focus groups, twenty undergraduate Chicana women participated in this research. Major findings for this study indicate that Chicana students are attending church less (55%) and negotiating Catholicism to form and practice their own Mestiza spirituality. The women utilize a mestiza spirituality that incorporates prayer, as well as indigenous practices and beliefs to practice their faith.

Chicana decolonial feminism asks us to re envision a world that allows for various forms of beings, creating identities based on political coalitions, having an active compassion that translates into direct action that seeks to dismantle binaries that reinscribe colonialism. Chicana decolonial feminist thought actively seeks to dismantle sexism, to dismantle racism, to focus on personal experience as theory, to focus on the body as knowledge, reconceptualize knowledge, envision new ways of being, and writing that is accessible to all. I use two concepts active compassion and interconnectedness of being that are central to chicana decolonial feminism. Chicana feminist texts and newspaper articles from the 1970s are analyzed to demonstrate how chicana decolonial feminism is seen in these texts.

This paper presents a literature review on Chicana artists throughout history. It is an effort to situate Chicana artists as political visionaries, capable of conveying new visions for the future in their strategic disruption of the distribution of the sensible. Chicana art has been widely studied in the past two decades as a body of work that is both based in cultural formation, spirituality and a feminist critique of the Chicano Movement from 1968-1975. In this review of the literature, I will explore Chicana art in its role as political inspiration and a mapping of resistance to white elite power structures. Therefore, my focus in this work will be to analyze resistance and visual art, as well as the relationship between Chicanas and visual art. In this sample, I will canvas some of the work written on the historical processes that shaped Chicana/o identity, the Chicano/a movement and the early Chicana critique of that movement. This will simultaneously incorporate references to the artistic expression of the movement that has continued to shape cultural and political production in the Mexican American and affiliated academic communities for the last forty years. / text

While Mexican Americans have put their lives to paper prior to the years of el movimiento, in this project, I begin my analysis with authors who voice their selves immediately before and after the Chicano Movement. Authors like José Antonio Villarreal in Pocho (1959), Ernesto Galarza in Barrio Boy: The Story of a Boy’s Acculturation (1971), and Richard Rodriguez in Hunger of Memory: The Education of Richard Rodriguez (1982), in their efforts to represent self and narrative multiple selves, wrote what many see as the foundational texts that speak to or enliven Mexican American experiences during this formative period. Upon closer consideration, we see the ways in which these early texts initiate and create on-going conversations about form, fiction, identity, and truth. Rather than establishing a kind of literary nationalism, at the time, that rejected Anglo literary conventions, particularly in the field of autobiography, Villarreal, Galarza, and Rodriguez mirror many of the Western, male, heteronormative, autobiographical conventions in their texts, ones they read and admired while growing up as Mexican Americans in the 1950s and 1960s. In contrast to these earlier Mexican American writers, Chicanas such as Cherríe Moraga, Gloria Anzaldúa, and Norma Elia Cantú, offer alternative, multi-generic models of life narrative. In my project, I consider the ways in which Chicano self-writing carves out a space of racial representation and how that form, originated and altered by the Chicana/os mentioned above, has evolved to accommodate and even embrace such forms as dichos, myths, recipes, photographs, letters, poems, among others. Chicana authors Sheila Ortiz Taylor, Sandra Ortiz Taylor, Pat Mora, and Michele Serros employ various autobiographical strategies to establish a self-narrated tradition that differs from the works of early Chicano writers. Following in the footsteps of his Chicana predecessors, Luis Alberto Urrea, too, challenges form to tell the story of his life. These writers do not simply “modify” or “adapt” existing genres; rather, they make and remake an entire corpus of related autobiographical genres in order to participate in the larger literary tradition of life narrative. / text

The chief argument of this work rests on the idea that culture-blindness—especially White ethnic-cultural blindness—contributed as much as issues of race to the heavily documented social rift between predominantly Chicanx, Eastside punk and the mostly-White, Westside punk rock communities of Los Angeles, 1976-1981. To date, historical blame for the divide has centered on racism, including racist intent. The second area of analysis directly relates to the first in that it demonstrates the inextricable link between cultural and spatial identity formation and assignment among the various scenes. This aspect of the study evaluates the complaints of some Eastside acts who have contended that based on racist attitude(s), they were prohibited from playing in Westside venues, thereby limiting their opportunities for gaining notoriety in the industry overall. This evaluation attempts to weigh the validity of that complaint against other determinative, influential aspects of the entire punk phenomenon. Lastly, through historically tracking the remnants of cultural Chicanismo clear into L.A.’s first and succeeding punk waves, this work analyzes the art of protest, and the protest in art as applied to that city’s diverse punk aesthetics.

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.

This thesis analyzes at how Latinx Hip Hop artists from Chicago act as organic intellectuals within their community and how they use their platform as artists to challenge the narratives created by government officials that aim to criminalize their community in an effort to normalize and justify the policing of their neighborhoods.

Orientador: Giséle Manganelli Fernandes / Resumo: Este trabalho objetiva analisar como as personagens dos episódios presentes na obra da literatura chicana ...y no se lo tragó la tierra, de Tomás Rivera (1992), têm sua identidade (des)estruturada, exemplificando a (des)estruturação identitária dos chicanos, imigrantes mexicanos nos Estados Unidos e seus descendentes. Por meio dos conceitos de nação e nacionalismo adotados por Ernest Gellner (1983), Eric Hosbsbawn (2008) e Benedict Anderson (2008), averiguar-se-á o contexto histórico e os eventos ocorridos a fim de entender como esses conceitos estão relacionados ao processo de formação da comunidade chicana nos antigos territórios mexicanos conquistados pelos EUA, intensificado pelo movimento diaspórico. Após esse levantamento histórico, pretende-se comprovar o processo de estruturação/consolidação da identidade chicana, associando-a com o conceito de identidade de subclasse, definido por Bauman (2005) como a negação do direito de um indivíduo reivindicar uma identidade que não seja a que lhe foi imposta por outros; e o de desestruturação dessa identidade, articulando-a com a ideia de identidade fragmentada do sujeito pós-moderno defendida por Hall (2005). Os trechos e passagens dos episódios validarão as características e experiências das personagens como instrumentos tanto de apresentação como de ruptura dos estereótipos estabelecidos à identidade chicana. / Abstract: This thesis aims at analyzing how the characters of the episodes presented in the Chicano Literature novel ...y no se lo tragó la tierra, by Tomás Rivera (1992), have their identity de/structured, exemplifying the identity de/structuring of the Chicanos, Mexican immigrants in the United States and their descendents. Through the concepts of nation and nationalism addressed by Ernest Gellner (1983), Eric Hosbsbawn (2008) and Benedict Anderson (2008), the historical context and the occurred events will be discussed in order to understand how these concepts are related to the process of the Chicano community formation in the former Mexican territories conquered by the U.S., itensified by the diasporic movement. After the historical data, it is intended to prove the process of structuring/consolidating the Chicano identity, associating it to the concept of underclass, defined by Bauman (2005) as the denial of the right of an individual to reclaim an identity different from the one that was imposed by others; and also the one of destructuring this identity, articulating with the idea of fragmented identity of the post-mordern subject defended by Hall (2005). The excerpts and passages from the episodes will validate the characters’ features and experiences as tools for both presenting and rupturing stereotypes given to the Chicano identity. / Mestre

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