Elizabeth de la Portilla writes of the world and practices of San Antonio curanderas. As a scholar, an ethnographer, and a curandera in training, her parallel perspectives uniquely aid readers in understanding this subordinated culture. Retelling the stories various healers have shared, interpreting their answers to her probing questions, and describing the herbs and recipes they use in their arts, the author vividly illuminates the borderland context of San Antonio.
Curanderas—traditional healers in Mexican culture—bridge the gaps between multiple planes of existence—spiritual and material, modern and pre-modern—dispensing medicinal herbs, prayers, and instruction. Elizabeth de la Portilla writes of the world and practices of San Antonio curanderas. As a scholar, an ethnographer, and a curandera in training, her parallel perspectives uniquely aid readers in understanding this subordinated culture. Retelling the stories various healers have shared, interpreting their answers to her probing questions, and describing the herbs and recipes they use in their arts, the author vividly illuminates the borderland context of San Antonio. Scholars and readers of anthropology, sociology, Chicana and Chicano studies, and women's studies will savor the many layers of meaning and application in They All Want Magic.
Elizabeth Crook's vast yet intimate novel of the Texas Revolution takes us beyond the traditional setpieces of the Alamo and San Jacinto to the other places where the war was fought—to the forest traces and prairies and Gulf Coast beaches, and to the hearts of the novel's vibrant characters. Among them: Domingo de la Rosa—the great Tejano ranchero, implacable and devout, for whom the fight against the Anglo "heretics" is nothing less than a holy war. Hugh Kenner—a physician whose son has run away to the war. Hugh will discover the heroic strength of his compassion, and also its brutal cost. Katie Kenner—Hugh's restless daughter, a refugee caught up in the massive human stampede known as The Runaway Scrape, who finds herself in love with a foreigner and responsible for the life of an orphan baby. Adelaido Pacheco—a dashing tobacco smuggler loyal to no cause but his own, a man without a country and in peril of becoming a man without a soul. Crucita Pacheco—Adelaido's beautiful sister who has lost her family, all but Adelaido, in the cholera epidemic of 1832. Feeling that God has forsaken her, she enters Domingo de la Rosa's employ as a spy against the Anglo rebels, and discovers an improbable love. Through these people and others, Promised Lands brings a myth-encrusted chapter of American history to authentic life. Elizabeth Crook demonstrates once again a stunning command of her period and a passionate regard for her characters. Promised Lands bears the hallmark of a master novelist: a grand vision, rendered on an unforgettably human scale.
Elizabeth C. Ramírez's study reveals the traditions of Chicanas/Latinas in theatre and performance, showing how Latina/Latino theatre has evolved from its pre-Columbian, Spanish, and Mexican origins to its present prominence within American theatre history. This project on women in performance serves the need for scholarship on the contributions of underrepresented groups in American theatre and education, in cultural studies and the humanities, and in American and world history.
Contains alphabetically arranged entries that examine over fifty works of literature from developing nations, each with an introduction to the work and its author, a plot summary, descriptions of important characters, analysis of important themes, a critical overview, and other information.
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