Bibliography

Bibliography of Works Cited

Anzaldúa, Gloria E. Borderlands/La Frontera: The New Mestiza. 5th ed. San Francisco: Aunt Lute Press, 2022.

———. “Preface: (Un)natural Bridges, (Un)safe Spaces.” In This Bridge We Call Home: Radical Visions for Transformation, edited by Gloria E. Anzaldúa and AnaLouise Keating, 1–5. New York: Routledge, 2002.

Biggers, Jeff. “Who’s afraid of ‘The Tempest’?” Salon, January 13, 2012. https://www.salon.com/2012/01/13/whos_afraid_of_the_tempest/.

Boffone, Trevor. “Queering Machismo from Michoacán to Montrose: Purple Eyes by Josh Inocéncio.” HowlRound, July 14, 2016. https://howlround.com/queering-machismo-michoacan-montrose.

Boffone, Trevor, and Carla Della Gatta, eds. Shakespeare and Latinidad. Edinburgh: Edinburgh University Press, 2021.

Césaire, Aimé. A Tempest. Translated by Philip Crispin. London: Oberon Books, 2015.

———. Une Tempête. Paris: Éditions du Seuil, 1969.

Chapman, Matthieu. “Chicano Signifyin’: Appropriating Space and Culture in El Henry.” Theatre Topics 27, no. 1 (2017): 61–69. https://doi.org/10.1353/tt.2017.0003.

Darby, Jaye T., Courtney Elkin Mohler, and Christy Stanlake, eds. Critical Companion to Native American and First Nations Theatre and Performance: Indigenous Spaces. London: Bloomsbury, 2020.

Delgadillo, Theresa. Spiritual Mestizaje: Religion, Gender, Race, and Nation in Contemporary Chicana Narrative. Durham, NC: Duke University Press, 2011.

Della Gatta, Carla. “From West Side Story to Hamlet, Prince of Cuba: Shakespeare and Latinidad in the United States.” Shakespeare Studies 44 (2016): 151–56.

de Onís, Catalina (Kathleen) M. “What’s in an ‘x’?: An Exchange about the Politics of ‘Latinx.’” Chiricú Journal: Latina/o Literatures, Arts, and Cultures 1, no. 2 (2017): 78–91.

Desmet, Christy, and Sujata Iyengar. “Adaptation, Appropriation, or What You Will.” Shakespeare 11, no. 1 (2015): 10–19. https://doi.org/10.1080/17450918.2015.1012550.

Espinosa, Ruben. “Beyond The Tempest: Language, Legitimacy, and La Frontera.” In The Shakespeare User: Critical and Creative Appropriations in a Networked Culture, edited by Valerie M. Fazel and Louise Geddes, 41–61. New York: Palgrave, 2017. https://doi.org/10.1007/978-3-319-61015-3_3.

———. “‘Don’t it Make My Brown Eyes Blue’: Uneasy Assimilation and the Shakespeare-Latinx Divide.” In The Routledge Handbook of Shakespeare and Global Appropriation, edited by Christy Desmet, Sujata Iyengar, and Miriam Jacobson, 48–58. New York: Routledge, 2019. https://doi.org/10.4324/9781315168968.

———. “Stranger Shakespeare.” Shakespeare Quarterly 67, no. 1 (2016): 51–67. https://doi.org/10.1353/shq.2016.0012.

———. “Traversing the Temporal Borderlands of Shakespeare.” New Literary History 52, nos. 3/4 (2021): 605–23. https://doi.org/10.1353/nlh.2021.0028.

Favate, Sam. “Shakespeare’s ‘The Tempest’ Barred from Arizona Public Schools.” The Wall Street Journal, January 17, 2012. https://www.wsj.com/articles/BL-LB-41723.

Fernández Retamar, Roberto. Calibán. Apuntes sobre la cultura en nuestra América. México: Diogenes, 1971.

———. “Caliban: Notes Toward a Discussion of Culture in Our America.” Translated by Lynn Garafola, David Arthur McMurray, and Roberto Márquez. The Massachusetts Review 15, nos. 1/2 (1974): 7–72.

Fielder, Brigitte. “Blackface Desdemona: Theorizing Race on the Nineteenth-Century American Stage.” Theatre Annual 70 (2017): 39–59. http://dx.doi.org/10.17613/M6K284.

González, José Cruz, and David Lozano. “Diálogo: On Making Shakespeare Relevant to Latinx Communities.” In Shakespeare and Latinidad, edited by Trevor Boffone and Carla Della Gatta, 154–59. Edinburgh: Edinburgh University Press, 2021. https://doi.org/10.3366/edinburgh/9781474488488.003.0014.

Greenberg, Marissa. “Critically Regional Shakespeare.” Shakespeare Bulletin 37, no. 3 (2019): 341–63. https://doi.org/10.1353/shb.2019.0039.

Grier, Miles P. “Staging the Cherokee Othello: An Imperial Economy of Indian Watching.” The William and Mary Quarterly 73, no. 1 (2016): 73–106.

Gumbs, Alexis Pauline. “Daily Bread: Nourishing Sustainable Practices for Community Accountable Scholars.” Brilliance Remastered, July 31, 2012. https://brokenbeautiful.wordpress.com/2012/07/.

Gutiérrez-Jones, Carl. “Humor, Literacy and Trauma in Chicano Culture.” Comparative Literature Studies 40, no. 2 (2003): 112–26. https://doi.org/10.1353/cls.2003.0014.

Herrera-Sobek, María. “Gloria Anzaldúa, Place, Race, Language, and Sexuality in the Magic Valley.” PMLA 121, no. 1 (2006): 266–71. https://doi.org/10.1632/003081206X129800.

———. “The Border Patrol and Their Migra Corridos: Propaganda, Genre Adaptation, and Mexican Immigration.” American Studies Journal 57 (2012). https://doi.org/10.18422/57-06.

Huerta, Jorge A. Chicano Drama: Performance, Society and Myth. Cambridge, UK: Cambridge University Press, 2000.

———. “Feathers, Flutes, and Drums: Images of the Indigenous Americans in Chicano Drama.” In Native American Performance and Representation, edited by S. E. Wilmer, 182–92. Tucson: University of Arizona Press, 2009.

Inocéncio, Josh. “Mixing the Culture Pot: Growing Up Gay and Austro-Mexican in Houston.” OutSmart Magazine, September 1, 2016. https://www.outsmartmagazine.com/2016/09/mixing-the-culture-pot-growing-up-gay-and-austro-mexican-in-houston/.

Klein, Elizabeth, and Michael Shapiro. “Shylock as Crypto-Jew: A New Mexican Adaptation of The Merchant of Venice.” In World-Wide Shakespeares: Local Appropriations in Film and Performance, edited by Sonia Massai, 31–39. New York: Routledge, 2005. https://doi.org/10.4324/9780203356944.

Kliman, Bernice W., and Rick J. Santos. “Mestizo Shakespeares: A Study of Cultural Exchange.” In Latin American Shakespeares, edited by Bernice W. Kliman and Rick J. Santos, 11–20. Madison, NJ: Fairleigh Dickinson University Press, 2005.

Little, Arthur L., Jr. “Re-Historicizing Race, White Melancholia, and the Shakespearean Property.” Shakespeare Quarterly 67, no. 1 (2016): 84–103. https://doi.org/10.1353/shq.2016.0018.

Mason, Susan. “Romeo and Juliet in East L.A.” Theater 23, no. 2 (1992): 88–92. https://doi.org/10.1215/01610775-23-2-88.

Merla-Watson, Cathryn Josefina. “(Trans)Mission Possible: The Coloniality of Gender, Speculative Rasquachismo and Altermundos in Luis Valderas’s Chican@futurist Visual Art.” In Altermundos: Latin@ Speculative Literature, Film, and Popular Culture, edited by Cathryn Josefina Merla-Watson and B. V. Olguín, 352–70. Los Angeles: UCLA Chicano Studies Research Center, 2017.

Merla-Watson, Cathryn Josefina, and B. V. Olguín, “Altermundos: Reassessing the Past, Present, and Future of the Chican@ and Latin@ Speculative Arts.” In Altermundos: Latin@ Speculative Literature, Film, and Popular Culture, edited by Cathryn Josefina Merla-Watson and B. V. Olguín, 1–36. Los Angeles: UCLA Chicano Studies Research Center, 2017.

Mignolo, Walter. The Darker Side of the Renaissance: Literacy, Territoriality, and Colonization. 2nd ed. Ann Arbor: University of Michigan Press, 2003.

Modenessi, Alfredo Michel. “‘A double tongue within your mask’: Translating Shakespeare in/to Spanish-Speaking Latin America.” In Shakespeare and the Language of Translation, edited by Ton Hoenselaars, 240–54. London: Arden Shakespeare, 2004. http://dx.doi.org/10.5040/9781408179734.ch-013.

———. “‘Meaning by Shakespeare’ South of the Border.” In World-Wide Shakespeares: Local Appropriations in Film and Performance, edited by Sonia Massai, 104–11. New York: Routledge, 2007.

Montaño, Mary Caroline. Tradiciones Nuevomexicanas: Hispano Arts and Culture of New Mexico. Albuquerque: University of New Mexico Press, 2001.

Paredes, Américo. “With His Pistol in His Hand”: A Border Ballad and Its Hero. Austin: University of Texas Press, 1958.

Pérez, Emma. The Decolonial Imaginary: Writing Chicanas into History. Bloomington: Indiana University Press, 1999.

Peterson, Kaara L., and Deanne Williams, eds. The Afterlife of Ophelia. New York: Palgrave MacMillan, 2012.

Phippen, J. Weston, and National Journal. “How One Law Banning Ethnic Studies Led to Its Rise.” The Atlantic. July 19, 2015. https://www.theatlantic.com/education/archive/2015/07/how-one-law-banning-ethnic-studies-led-to-rise/398885/.

Pinsky, Mark. “Una Noche to Remember: Hispanic Playwrights Project Takes Center Stage at SCR Beginning Tonight.” The Los Angeles Times, August 8, 1991. https://www.latimes.com/archives/la-xpm-1991-08-08-ol-268-story.html.

Román, David. “Latino Performance and Identity.” Aztlán: A Journal of Chicano Studies 22, no. 2 (1997): 151–67.

Rosa, Jonathan. Looking Like a Language, Sounding Like a Race: Raciolinguistic Ideologies and the Learning of Latinidad. Oxford: Oxford University Press, 2019.

Sanchez Saltveit, Olga. “¡O Romeo! Shakespeare on the Altar of Día de los Muertos.” In Shakespeare and Latinidad, edited by Trevor Boffone and Carla Della Gatta, 38–44. Edinburgh: Edinburgh University Press, 2021. https://doi.org/10.1515/9781474488501-005.

Sanders, Julie. Adaptation and Appropriation. 2nd ed. New York: Routledge, 2016.

Sandoval, Chela, Arturo J. Aldama, and Peter J. García. “Toward a De-Colonial Performatics of the US Latina and Latino Borderlands.” In Performing the US Latina and Latino Borderlands, edited by Arturo J. Aldama, Chela Sandoval, and Peter J. García, 1–30. Bloomington: Indiana University Press, 2012.

Santos, Adrianna M. “Surviving the Alamo, Violence Vengeance, and Women’s Solidarity in Emma Pérez’s Forgetting the Alamo, Or, Blood Memory.” The Journal of Latina Critical Feminism 2, no. 1 (2019): 37–49.

Sayet, Madeline. “Interrogating the Shakespeare System.” HowlRound, August 31, 2020. https://howlround.com/interrogating-shakespeare-system.

Scott, Jean Bruce, and Randy Reinholz. “Native Voices at the Autry.” In Casting a Movement: The Welcome Table Initiative, edited by Claire Syler and Daniel Banks, 147–58. New York: Routledge, 2019.

Shakespeare, William. The Norton Shakespeare. 3rd ed. Edited by Stephen Greenblatt, Walter Cohen, Suzanne Gossett, Jean E. Howard, Katharine Eisaman Maus, and Gordon McMullan. New York: Norton, 2015.

Shapiro, James. Shakespeare in a Divided America: What His Plays Tell Us About Our Past and Future. New York: Penguin Press, 2020.

———, ed. Shakespeare in America: An Anthology from the Revolution to Now. New York: The Library of America, 2014.

Stevens, Scott Manning. “Shakespeare and the Indigenous Turn.” In Histories of the Future: On Shakespeare and Thinking Ahead, edited by Carla Mazzio. Philadelphia: University of Pennsylvania Press, forthcoming.

Szymkowicz, Adam. “I Interview Playwrights Part 931: Joshua Inocéncio,” April 30, 2017. http://aszym.blogspot.com/2017/04/i-interview-playwrights-part-931-joshua.html.

Thompson, Ayanna. Passing Strange: Shakespeare, Race, and Contemporary America. Oxford: Oxford University Press, 2011.

The T.R.U.T.H Project. Telling Real Unapologetic Through Healing (T.R.U.T.H.), Inc. Project. Accessed June 16, 2022. https://truthprojecthtx.org/.

Villarreal, Edit. “Catching the Next Play: The Joys and Perils of Playwriting.” In Puro Teatro: A Latina Anthology, edited by Alberto Sandoval-Sánchez and Nancy Saporta Sternbach, 330–33. Tucson: University of Arizona Press, 2000.

Watts, James D., Jr. “Arts Scene: First Friday Hosts Art Market After Dark; Beethoven Gets Exposed.” Tulsa World, October 28, 2018. https://tulsaworld.com/entertainment/arts-scene-first-friday-hosts-art-market-after-dark-beethoven-gets-exposed/article_aadd8f42-5488-541c-9244-ff07f1b99440.html.

Weaver, Jace. “Shakespeare Among the ‘Salvages’: The Bard in Red Atlantic Performance.” Theater Journal 67, no. 3 (2015): 433–43. https://doi.org/10.1353/tj.2015.0109.

Yarbro-Bejarano, Yvonne. “The Female Subject in Chicano Theatre: Sexuality, ‘Race,’ and Class.” Theatre Journal 38, no. 4 (1986): 389–407. https://doi.org/10.2307/3208283.

Ybarra, Patricia A. Latinx Theater in the Times of Neoliberalism. Evanston, IL: Northwestern University Press, 2017.

Ybarra-Frausto, Tomás. “Rasquachismo: A Chicano Sensibility.” In Chicano Art: Resistance and Affirmation, 1965–1985, edited by Richard Griswold del Castillo, Teresa McKenna, and Yvonne Yarbro-Bejarano, 155–62. Los Angeles: Wright Art Gallery, University of California, 1991.

Yim, Laura Lehua. “Reading Hawaiian Shakespeare: Indigenous Residue Haunting Settler Colonialism.” Journal of American Studies 54, no. 1 (2020): 36–43. https://doi.org/10.1017/S0021875819001993.

Younging, Gregory. Elements of Indigenous Style: A Guide for Writing by and about Indigenous Peoples. Edmonton: Brush Education, 2018.

A Bibliography of Borderlands Shakespeare

Boffone, Trevor. “Queering Machismo from Michoacán to Montrose: Purple Eyes by Josh Inocéncio.” HowlRound, July 14, 2016. https://howlround.com/queering-machismo-michoacan-montrose.

Boffone, Trevor, and Carla Della Gatta, eds. Shakespeare and Latinidad. Edinburgh: Edinburgh University Press, 2021.

Chapman, Matthieu. “Chicano Signifyin’: Appropriating Space and Culture in El Henry.” Theatre Topics 27, no. 1 (2017): 61–69. https://doi.org/10.1353/tt.2017.0003.

Della Gatta, Carla. “From West Side Story to Hamlet, Prince of Cuba: Shakespeare and Latinidad in the United States.” Shakespeare Studies 44 (2016): 151–56.

———. “Shakespeare and American Bilingualism: Borderlands Productions of Romeo and Julieta.” In Renaissance Shakespeare: Shakespeare Renaissances; Proceedings of the Ninth World Shakespeare Congress, edited by Martin Procházka, Michael Dobson, Andreas Höfele, and Hanna Scolnicov, 286–95. Newark: University of Delaware Press, 2014.

Espinosa, Ruben. “A Darker Shade of Shakespeare.” Shakespeare’s Globe (blog). August 23, 2020. https://www.shakespearesglobe.com/discover/blogs-and-features/2020/08/23/a-darker-shade-of-shakespeare/.

———. “Beyond The Tempest: Language, Legitimacy, and La Frontera.” In The Shakespeare User: Critical and Creative Appropriations in a Networked Culture, edited by Valerie M. Fazel and Louise Geddes, 41–61. New York: Palgrave, 2017. https://doi.org/10.1007/978-3-319-61015-3_3.

———. “Chicano Shakespeare: The Bard, the Border, and the Peripheries of Performance.” In Teaching Social Justice Through Shakespeare: Why Renaissance Literature Matters Now, edited by Hillary Eklund and Wendy Beth Hyman, 76–84. Edinburgh: Edinburgh University Press, 2019. https://www.jstor.org/stable/10.3366/j.ctvrs912p.11.

———. “‘Don’t it Make My Brown Eyes Blue’: Uneasy Assimilation and the Shakespeare-Latinx Divide.” In The Routledge Handbook of Shakespeare and Global Appropriation, edited by Christy Desmet, Sujata Iyengar, and Miriam Jacobson, 48–58. New York: Routledge, 2019. https://doi.org/10.4324/9781315168968.

———. “Postcolonial Studies.” In The Arden Handbook of Contemporary Shakespeare Criticism, edited by Evelyn Gajowski, 159–72. London: Bloomsbury Arden, 2020.

———. “Shakespeare and Your Mountainish Inhumanity.” The Sundial. August 16, 2019. https://medium.com/the-sundial-acmrs/shakespeare-and-your-mountainish-inhumanity-d255474027de

———. “Stranger Shakespeare,” Shakespeare Quarterly 67, no. 1 (2016): 51–67. https://doi.org/10.1353/shq.2016.0012.

———. “Traversing the Temporal Borderlands of Shakespeare.” New Literary History 52, nos. 3/4 (2021): 605–23. https://doi.org/10.1353/nlh.2021.0028.

Gillen, Katherine. “Language, Race, and Shakespeare Appropriation on San Antonio’s Southside: A Qualities of Mercy Dispatch.” The Sundial, August 19, 2020. https://medium.com/the-sundial-acmrs/language-race-and-shakespeare-appropriation-on-san-antonios-southside-a-qualities-of-mercy-9baed8e93599.

———. “Shakespearean Appropriation and Queer Latinx Empowerment in Josh Inocéncio’s Ofélio.” In The Routledge Handbook of Shakespeare and Global Appropriation, edited by Christy Desmet, Sujata Iyengar, and Miriam Jacobson, 90–101. London: Routledge, 2019.

Gillen, Katherine, and Adrianna M. Santos. “Borderlands Shakespeare: The Decolonial Visions of James Lujan’s Kino and Teresa and Seres Jaime Magaña’s The Tragic Corrido of Romeo and Lupe.” Shakespeare Bulletin 38, no. 4 (2020): 1–23. https://doi.org/10.1353/shb.2020.0066.

———. “The Power of Borderlands Shakespeare: Seres Jaime Magaña’s The Tragic Corrido of Romeo and Lupe.” In Shakespeare and Latinidad, edited by Trevor Boffone and Carla Della Gatta, 57–74. Edinburgh: Edinburgh University Press, 2021. https://doi.org/10.3366/edinburgh/9781474488488.003.0005.

Greenberg, Marissa. “Critically Regional Shakespeare.” Shakespeare Bulletin 37, no. 3 (2019): 341–63. https://doi.org/10.1353/shb.2019.0039.

———. “Rethinking Local Shakespeare: The Case of The Merchant of Santa Fe.” Journal of the Wooden O 12, no. 1 (2012): 15–24.

———. “Shakespeare’s Ghosts: Staging Colonial Histories in New Mexico.” In Shakespeare and Latinidad, edited by Trevor Boffone and Carla Della Gatta, 97–111. Edinburgh: Edinburgh University Press, 2021. https://doi.org/10.3366/edinburgh/9781474488488.003.0009.

Klein, Elizabeth, and Michael Shapiro. “Shylock as a Crypto-Jew: A New Mexican Adaptation of The Merchant of Venice.” In World-Wide Shakespeares: Local Appropriations in Film and Performance, edited by Sonia Massai, 31–39. New York: Routledge, 2005. https://doi.org/10.4324/9780203356944.

Sanchez Saltveit, Olga. “¡O Romeo! Shakespeare on the Altar of Día de los Muertos.” In Shakespeare and Latinidad, edited by Trevor Boffone and Carla Della Gatta, 38–44. Edinburgh: Edinburgh University Press, 2021. https://doi.org/10.1515/9781474488501-005.

Santos, Kathryn Vomero. “Seeing Shakespeare: Narco Narratives and Neocolonial Appropriations of Macbeth in the U.S.–Mexico Borderlands.” Literature Compass (2021). https://doi.org/10.1111/lic3.12636.

———. “¿Shakespeare para todos?” Shakespeare Quarterly 73, nos. 1–2 (2022): 49–75. https://doi.org/10.1093/sq/quac044.

Zingle, Laura. “El Henry: Herbert Siguenza’s Epic Chicano Version of Shakespeare’s 1 Henry IV.” TheatreForum 46 (2014): 56–61.