Peter C Haney
Biographic Data
| ID | 95183 |
|---|---|
| NAME | Peter C Haney |
| GIVEN NAMES | Peter C |
| FAMILY NAME | Haney |
| SIGNATURE | HANEY P C |
| AFFILIATIONS | The University of Texas at Austin |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 7 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1999 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
Sol, sombra, y media luz: History, parody, and identity formation in the Mexican American carpa
This paper analyzes a parody of the tango “A media luz” that was performed by Rodolfo Garcia, a Mexican American comedian who worked in his family’s tent show, the Carpa Garcia, in the early 1940s. I argue that by juxtaposing the generic conventions of the tango with those of the canción ranchera and by introducing carnivalesque humor, Mr. Garcia’s parody articulated a distinctly local Mexican American identity which was strongly linked to a sens…
Latina/os and World War II: Mobility, Agency, and Ideology
CHAPTER 7 “Capitán, ¿a qué huele la sangre?”: Mexicana/o Vaudeville and Militarized Citizenship during World War II CHAPTER 7 “Capitán, ¿a qué huele la sangre?”: Mexicana/o Vaudeville and Militarized …
CHAPTER 7 “Capitán, ¿a qué huele la sangre?”: Mexicana/o Vaudeville and Militarized Citizenship during World War II CHAPTER 7 “Capitán, ¿a qué huele la sangre?”: Mexicana/o Vaudeville and Militarized Citizenship during World War II was published in Latina/os and World War II on page 137.
An Impossible Living in a Transborder World: Culture, Confianza, and Economy of Mexican Origin Populations. Carlos Vélez-Ibáñez
This Land Was Mexican Once: Histories of Resistance from Northern California
Book Review| January 01 2009 This Land Was Mexican Once: Histories of Resistance from Northern California This Land Was Mexican Once: Histories of Resistance from Northern California, Linda Heidenreich. Peter C. Haney Peter C. Haney Search for other works by this author on: This Site Google Journal of American Ethnic History (2009) 28 (2): 112–113. https://doi.org/10.2307/40543399 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo P…
Where the Ox Does Not Plow: A Mexican American Ballad. Manuel Peña
Pachangas: Borderlands Music, U.S. Politics, and Transnational Marketing
Book Review| January 01 2007 Pachangas: Borderlands Music, U.S. Politics, and Transnational Marketing Pachangas: Borderlands Music, U.S. Politics, and Transnational Marketing, Margaret E. Dorsey. Peter C. Haney Peter C. Haney Search for other works by this author on: This Site Google Journal of American Ethnic History (2007) 26 (2): 117–119. https://doi.org/10.2307/27501817 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissi…
Relato, relajo, and recording
Bilingual Humor, Verbal Hygiene, and the Gendered Contradictions of Cultural Citizenship in Early Mexican American Comedy
This article examines the paradoxes of linguistic purism in a series of sound recordings of comic dialogues made by Mexican immigrant comedians in San Antonio, Texas, during the Depression. The dialogues present characters who mix English and Spanish as transgressors of gender roles and national identities, reserving their harshest criticism for women. However, bilingual wordplay in the dialogues suggests a dialectically opposed ideological move …
Fantasía and Disobedient Daughters: Undistressing Genres and Reinventing Traditions in the Mexican American Carpa
During the 1930s and 1940s, female performers in Mexican American tent shows in San Antonio modified the costumes associated with Mexican "folkloric" dances, incorporating elements derived from vaudeville, to form a hybrid style called fantasía. This style asserted Mexican American identity while subverting the purist nationalism of folklórico dances and marking the performers' entry into newly public female roles. At the same time, it also invol…
Bilingual Humor, Verbal Hygiene, and the Gendered Contradictions of Cultural Citizenship in Early Mexican American Comedy
This article examines the paradoxes of linguistic purism in a series of sound recordings of comic dialogues made by Mexican immigrant comedians in San Antonio, Texas, during the Depression. The dialogues present characters who mix English and Spanish as transgressors of gender roles and national identities, reserving their harshest criticism for women. However, bilingual wordplay in the dialogues suggests a dialectically opposed ideological move …
Relato, relajo, and recording
Fantasía and Disobedient Daughters: Undistressing Genres and Reinventing Traditions in the Mexican American Carpa
During the 1930s and 1940s, female performers in Mexican American tent shows in San Antonio modified the costumes associated with Mexican "folkloric" dances, incorporating elements derived from vaudeville, to form a hybrid style called fantasía. This style asserted Mexican American identity while subverting the purist nationalism of folklórico dances and marking the performers' entry into newly public female roles. At the same time, it also invol…
Fantasía and Disobedient Daughters: Undistressing Genres and Reinventing Traditions in the Mexican American Carpa
During the 1930s and 1940s, female performers in Mexican American tent shows in San Antonio modified the costumes associated with Mexican "folkloric" dances, incorporating elements derived from vaudeville, to form a hybrid style called fantasía. This style asserted Mexican American identity while subverting the purist nationalism of folklórico dances and marking the performers' entry into newly public female roles. At the same time, it also invol…
Bilingual Humor, Verbal Hygiene, and the Gendered Contradictions of Cultural Citizenship in Early Mexican American Comedy
This article examines the paradoxes of linguistic purism in a series of sound recordings of comic dialogues made by Mexican immigrant comedians in San Antonio, Texas, during the Depression. The dialogues present characters who mix English and Spanish as transgressors of gender roles and national identities, reserving their harshest criticism for women. However, bilingual wordplay in the dialogues suggests a dialectically opposed ideological move …
Pachangas: Borderlands Music, U.S. Politics, and Transnational Marketing
Book Review| January 01 2007 Pachangas: Borderlands Music, U.S. Politics, and Transnational Marketing Pachangas: Borderlands Music, U.S. Politics, and Transnational Marketing, Margaret E. Dorsey. Peter C. Haney Peter C. Haney Search for other works by this author on: This Site Google Journal of American Ethnic History (2007) 26 (2): 117–119. https://doi.org/10.2307/27501817 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissi…
Relato, relajo, and recording
This Land Was Mexican Once: Histories of Resistance from Northern California
Book Review| January 01 2009 This Land Was Mexican Once: Histories of Resistance from Northern California This Land Was Mexican Once: Histories of Resistance from Northern California, Linda Heidenreich. Peter C. Haney Peter C. Haney Search for other works by this author on: This Site Google Journal of American Ethnic History (2009) 28 (2): 112–113. https://doi.org/10.2307/40543399 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo P…
Where the Ox Does Not Plow: A Mexican American Ballad. Manuel Peña
An Impossible Living in a Transborder World: Culture, Confianza, and Economy of Mexican Origin Populations. Carlos Vélez-Ibáñez
Latina/os and World War II: Mobility, Agency, and Ideology
CHAPTER 7 “Capitán, ¿a qué huele la sangre?”: Mexicana/o Vaudeville and Militarized Citizenship during World War II CHAPTER 7 “Capitán, ¿a qué huele la sangre?”: Mexicana/o Vaudeville and Militarized …
CHAPTER 7 “Capitán, ¿a qué huele la sangre?”: Mexicana/o Vaudeville and Militarized Citizenship during World War II CHAPTER 7 “Capitán, ¿a qué huele la sangre?”: Mexicana/o Vaudeville and Militarized Citizenship during World War II was published in Latina/os and World War II on page 137.
Sol, sombra, y media luz: History, parody, and identity formation in the Mexican American carpa
This paper analyzes a parody of the tango “A media luz” that was performed by Rodolfo Garcia, a Mexican American comedian who worked in his family’s tent show, the Carpa Garcia, in the early 1940s. I argue that by juxtaposing the generic conventions of the tango with those of the canción ranchera and by introducing carnivalesque humor, Mr. Garcia’s parody articulated a distinctly local Mexican American identity which was strongly linked to a sens…
Art (7 works) · Political science (7 works) · Latin American and Latino Studies (6 works) · Sociology (6 works) · History (5 works) · Humanities (5 works) · Law (5 works) · Download (4 works) · Literature (4 works) · Anthropology (3 works)