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211 academia, , –, , , , , ; and invisibility, –; and theoretical production, –; and women’s studies, – accents: and Gomez’s jaywalker, , , –, , ; and identity labels, , , acculturation, , , , affect: and de la Peña’s “Mariposa,” ; and Gomez’s jaywalker, –, , ; and Gomez/Tropicana’s Single Wet Female, , –, –n affinity, , , , , African Americans, , , , , n agency, , , , ; and Gomez’s jaywalker, –; and identity labels, , –, ; and Negrón-Muntaner’s Brincando el charco, –; and Obejas’s Memory Mambo, ; and Palacios’s performances, , –, ; and Pérez’s Gulf Dreams, ; and Trujillo’s What Night Brings, , , , , , – Alarcón, Norma, Aldama, Frederick Luis, n alienation, , , ; and de la Peña’s narrative work, –, , –, ; and Trujillo’s What Night Brings, –, , , n Allison, Dorothy, n alterity: and de la Peña’s narrative work, , ; and diasporic identity, –; familiar , , –, , , n; and Gomez’s jaywalker, , , –, , ; and Obejas’s Memory Mambo, ; and Palacios’s “Tomboy,” ; and Trujillo’s What Night Brings, , , –, n. See also otherness Anglo identity, , , , ; and de la Peña’s Faults, ; and de la Peña’s “La Maya,” , –, ; and de la Peña’s “Mariposa,” –, –; and Enríquez’s A Journey Home, –; and Gomez’s jaywalker, , –, –, –, ; and Gomez/Tropicana’s Single Wet Female, –; and identity labels, , –, , , –; and NegrónMuntaner ’s Brincando el charco, –; and Palacios’s performances, –; and Pérez’s Gulf Dreams, , ; and Rodriguez, Richard, ; and self-definition, –; and theoretical production, –; and Troyano’s Carmelita Tropicana, –; and Trujillo’s What Night Brings, , , , n Anglo lesbians, , , ; and de la Peña’s narrative work, , –; and de la tierra’s quiz, ; as identity label, , –, ; and Rodriguez, Richard, – Aniston, Jennifer, anonymity, , , anxious repetition, , Anzaldúa, Gloria, –, , , , , , –, , n, n; and Aztlán, –, , , ; and borderlands, –, , , –, , , ; and identity labels, –, , –, ; and mestiza consciousness, , , , , , –, , nn,; naming as survival, , , , ; and self-definition, – Aparicio, Frances, –, Arellano, Cathy, – Arrizón, Alicia, , , , art as weapon, –, assimilation, –, ; and de la Peña’s narrative work, –, –; and Gomez’s jaywalker, –, , ; and Gomez/Tropicana’s Single Wet Female, –, –, Aztlán, –, , , Baywatch (television show), – beauty, standards of, –, –, being home, , , , , –. See also home Beltrán, Lola, Benmayor, Rina, – Bhabha, Homi, , , , bilingualism, –, , , blackface minstrelsy, Blackwell, Maylei, n blasphemy, Body Heat (film), Bourdieu, Pierre, Brady, Mary Pat, , , “The Bridge Poem” (Rushin), INDEX 212 INDEX Brincando el charco (Negrón-Muntaner), – Brown: The Last Discovery of America (Rodriguez), – Butler, Judith, , –, Cabranes-Grant, Leo, Carlson, Marvin, , – Carmelita Tropicana: Your Kunst Is Your Waffen (Troyano), –, Castillo, Ana, , , – Catholicism, , , , –, –, – center/periphery model, , –, ; and Gomez’s jaywalker, –, , , , –; and Gomez/Tropicana’s Single Wet Female, ; and Palacios’s “I Don’t Have to Explain,” Chávez-Silverman, Susan, –, “Chicana falsa,” , Chicana Falsa (Serros), Chicana Lesbians: The Girls Our Mothers Warned Us About (Trujillo), , –, , , – Chicanas: and chingón/chingada paradigm, –, n, n; and home, –, –; and identity labels, , , , –, –, , , , , . See also queer Chicanas Chidiac, Lamya, child abuse, , –, –, – chingón/chingada paradigm, –, n, n Christian, Barbara, , , , – “Chyk-ana,” , Cisneros, Sandra, n citizenship, –, , , , class distinctions: and de la Peña’s “Mariposa,” ; and Gomez’s jaywalker, –, , , ; and Gomez/Tropicana’s Single Wet Female, –; and identity labels, , –, , –, ; and Obejas’s Memory Mambo, –; and Trujillo’s What Night Brings, Clifford, James, – Clinton, Bill, , n the closet, , –, coalitional politics, , , ; Sandoval’s views on, , ; and Trujillo’s What Night Brings, , –, , n Cochina: The Twelve Days of Christmas (Gomez), colonized subject: and de la Peña’s narrative work, –; and Gomez’s jaywalker, ; and Gomez/Tropicana’s Single Wet Female, –, –, –n; and identity labels, –, , –, n; Memmi’s views on, , , –, ; and Obejas’s Memory Mambo, ; and theoretical production, , ; and Trujillo’s What Night Brings, , , , , n, n The Colonizer and the Colonized (Memmi), The Color of Privilege (Hurtado), , n comadrazgo, , , coming home, –, –, , , ; and de la Peña’s “La Maya,” , –; and de la Peña’s “Mariposa,” –, –; and Gomez/Tropicana’s Single Wet Female, –; and Pérez’s Gulf Dreams, , , ; and Serna’s “tierras sagradas,” . See also home coming out, , , , n communities, –, –, –, –; and de la Peña’s narrative work, –, , –, ; and de la tierra’s quiz, –; and Enríquez’s A Journey Home, ; in Gomez’s jaywalker, ; and Gomez/Tropicana’s Single Wet Female, , –, ; and identity labels, –, –, –, ; and Negrón-Muntaner’s Brincando el charco, –; and Obejas’s Memory Mambo, –, n; and Palacios’s performances, –, ; and Pérez’s Gulf Dreams, –; and Rodriguez, Richard, –; and Romo-Carmona’s help-wanted ad, ; and self-definition, –; and Serna’s “tierras sagradas,” –; and theoretical production, , , –; and Troyano’s Carmelita Tropicana, ; and Trujillo’s What Night Brings, –, , , –, –, , n Compañeras: Latina Lesbians (Ramos), , complicating home, , , –, , , . See also home conformity, ; and Gomez’s jaywalker, –, , , , –, ; and Negrón-Muntaner’s Brincando el charco, –; in Romo-Carmona’s help-wanted ad, ; and Trujillo’s What Night...