1. As the author explains how “The chapter titles, expressed through a unique Nahua literary trope that invokes a third element through the yoking of two others, the diphrasm or difrasismo, are meant to keep present the sometimes culturally untranslatable coexistence of non-Western and otherwise noncanonized aesthetic systems” (14). How do you think this diphrasm of combination of elements can be related to the title of the introduction being related to an ofrenda?
2. Multiple of the female artists described have produced an art piece about the Virgen de Guadalupe. For example, Carmen Lomas Garza “the miraculous apparitions of the Virgen de Guadalupe” (312), Ester Hernandez “La Virgen de Guadalupe Defendiendo los Derechos de los Xicanos” (313), and Yolando Lopez “Lopez’s Guadalupe’s are mobile, hardworking, assertive, working-class images of the abuela as strong, solid nurturer…” (313-314). Why do you think the image of the Virgen de Guadalupe is so recurring in Chicana art?
3. Does it appear that men and women have differing roles in the day of the dead? Examine scenes such as around the 24:00 minute mark where males and females are both painting skulls and 28:25 where the tradition of the woman in all black wearing no makeup is mocked.
-Caroline Johnson
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