Aztlán 26, no. 1
spring 2001
Editor’s Introduction
Editor’s Commentary: Fashion Crimes
• ESSAYS
“Revolutionary Sisters”: Women’s Solidarity and Collective
Identification among Chicana Brown Berets in East Los Angeles, 1967-1970
Dionne Espinoza
Selena’s Good Buy: Texas Mexicans, History, and Selena Meet Transnational
Capitalism
Raúl Coronado Jr.
Richard Rodriguez in “Borderland”: The Ambiguity of Hybridity
Juan E. de Castro
“Carrying the Message”: Denise Chávez on the Politics
of Chicana Becoming
Marilyn Mehaffy and AnaLouise Keating
• DOSSIER: FIRSTS
Chicano Doppelgänger: Robert Rodriguez’s First Remake and Secondary
Revision
Hector A. Torres
Manuel M. Corella: The Broken Trajectory of the First Latino Student and
Teacher at
the University of California, 1869-1874
David J. León
Hollywood’s First Spectators: Notes on Ethnic Nickelodeon Audiences
in Los Angeles
Jan Olsson
• ARTIST’S COMMUNIQUÉ
The Maguey: Coming Home
Santa C. Barraza
• REVIEWS AND RESPONSES
From CARA to CACA: The Multiple Anatomies of Chicano/a Art at the Turn
of the New Century
Alicia Gaspar de Alba
Blunting the Posthumanist Autopsy: Response to “Toward a Critique
of Sentimentalisms in Cultural Studies” by Scott Michaelsen (Aztlán
23, number 2, Fall 1998)
Gilbert A. Rosas
The Minotaur and the Labyrinth: Response to “Into the Labyrinth:
Chicano Literature in Search of a Theory” by Luis Leal (Aztlán
22, number 2, Fall 1997)
Felipe de Ortega y Gasca
• Contributors
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