Chicano

(redirected from Xicano)
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Words related to Chicano

a person of Mexican descent

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Beyond the incorporation of seemingly minor editorial choices such as the use of "pre-Cuauhtemoc" rather than "pre-Columbian" to displace the emphasis on the role of the settler-colonizer, or the spelling of "Xicano" to reflect indigeneity as well as a "lost or colonized history" (221), Creating Aztlans bifurcated structure uniquely complements the primary arguments of the text through utilizing the Nahua concept of in tlilli in tlapalli ("red and black") (17).
Griselda Suarez encounters the indigenous Aztec goddess Tonantzin during a traditional Catholic Xicano ritual.
become a nation within a nation, with a national plan of action as new soldiers in our struggle for national independence, and an emerging XICANO [Chicano] nation."
He writes in "Notes of a Bald Cricket": "I am Cortez's thigh, I am the African beard, I am the long, course hair/of the Chichimeca skulls, I am a Xicano poet, a musician who can't play music,/as a musician is a poet who works in another language;/There is a mixology of brews within me; I've tasted them all, still fermenting/as grass-high anxieties."
'The post postmodern subject is a xicano subject [...]: the subject of Aztlan the cultural nation but not the state and not subject to capricious borderlines', but with the borderline as its model for the active and ongoing articulation of 'dialogically unfinalized versions of the self' (p.
It says that the term apparently derives from the word Mexicano, by allusion to "Xicano" (with the X pronounced in the Nahuatl as s/sh), and then to the current spelling, Chicano.
Berger's Seeing through Race: A Reinterpretation of Civil Rights Photography (University of California Press, 2011), as well as the exhibitions and catalogs such as Witness: Art and Civil Rights in the 1960s (2014) and La Xicano (2011).
"Cultural Nationalism and Xicano Literature during the Decade of 1957-1975." MELUS 8.2 (Summer 1981): 22-34.
As a theoretical framework, the two pieces by Alfred Arteaga "X Antecanto: The Xicano Sign" and "Poetics of Resistance" set the mood for the rest of the collection by bringing to the fore the hybrid sign X as a convenient metaphor for the entire volume.