Bibliography

Bibliography of Works Cited

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

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. “Creating a Canon of Latinx Shakespeares: The Oregon Shakespeare Festival’s Play on!” In Shakespeare and Latinidad, edited by Trevor Boffone and Carla Della Gatta, 179–95. Edinburgh: Edinburgh University Press, 2021.

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

Britton, Dennis Austin. “Red Blood on White Saints: Affective Piety, Racial Violence, and Measure for Measure.” In White People in Shakespeare,” edited by Arthur Little, 65–76. London: Bloomsbury, 2022.

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.

Cortez, Julie. “There Has to Be Joy.” Prologue, 2019. Oregon Shakespeare Festival. https://www.osfashland.org/en/prologue/2019/prologue-19-there-has-to-be-joy.aspx.

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.

Das, Nandini. “The Stranger at the Door: Belonging in Shakespeare’s Ephesus.” Shakespeare Survey 73, no. 1 (2020): 10–20. https://doi.org/10.1017/9781108908023.002.

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

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, Micha. “What’s with the Spanish, Dude? Identity Development, Language Acquisition and Shame while Coaching La Comedia of Errors.” In Shakespeare and Latinidad, edited by Trevor Boffone and Carla Della Gatta, 224–33. Edinburgh: Edinburgh University Press, 2021. https://doi.org/10.1515/9781474488501-024.

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.

———. “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.

———. “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.

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.

Heidenreich, L. “This Land Was Mexican Once”: Histories of Resistance from Northern California. Austin: University of Texas Press, 2009.

Herrera, Brian Eugenio. “To Imagine a Nuevomexicano Theatre History.” In Theatre and Cartographies of Power: Repositioning the Latina/o Americas, edited by Jimmy A. Noriega and Analola Santana, 83–96. Carbondale: Southern Illinois University Press, 2018.

Hordes, Stanley M. To the End of the Earth: A History of the Crypto-Jews of New Mexico. New York: Columbia University Press, 2005.

Huerta, Jorge A. Chicano Drama: Performance, Society and Myth. Cambridge: 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.

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.

Mazón Daher, Bernardo. “La Comedia of Errors.” Illuminations 34 (2019): 46–49.

———. “The Fuñata and Spanglishisms with Bernardo Mazón Daher.” Produced by Kate Langsdorf. The Context, November 29, 2018. Podcast, 1:15:00. https://open.spotify.com/episode/6cKsA8sKTgVCVszhhrnLhj.

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.

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.

Oregon Shakespeare Festival. “A Community Hosted Experience.” Accessed July 26, 2023. https://www.osfashland.org/en/engage-and-learn/la-comedia-community.aspx.

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

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/.

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.

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.

Santa Ynez Band of Chumash Indians. Samala–English Dictionary: A Guide to the Samala Language of the Ineseño Chumash People. Santa Ynez, CA: Santa Ynez Band of Chumash Indians, 2007.

Santos, Kathryn Vomero. “Healing in the Gap of Time: Resonance and Resilience in José Cruz González’s Invierno.” In Shakespeare and the Poetics and Politics of Relevance, edited by Dympna Callaghan and Sophie Chiari. New York: Palgrave, forthcoming.

———. Shakespeare in Tongues. New York: Routledge, forthcoming.

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

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, 98–116. Philadelphia: University of Pennsylvania Press, 2024.

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

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.

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. “The Decolonial Imaginary of Borderlands Shakespeare.” In Decolonizing the English Literary Studies Curriculum, edited by Ato Quayson and Ankhi Mukherjee, 367–85. New York: Cambridge University Press, 2023. https://doi.org/10.1017/9781009299985.020.

———. “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. https://doi.org/10.4324/9781315168968.

———. “Shakespeare and the Herida Abierta: Twin Skin, Colonial Wounds, and the Cicatrix Poetics of Borderlands Theatre.” In Shakespeare/Skin, edited by Ruben Espinosa, 153–74. London: Bloomsbury Arden, 2024.

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.

Gillen, Katherine, and Kathryn Vomero Santos. “Where Curriculum Meets Community: Teaching Borderlands Shakespeare in San Antonio.” In Situating Shakespeare in Higher Education: Social Justice and Institutional Contexts, edited by Marissa Greenberg and Elizabeth Williamson, 111–25. Edinburgh: Edinburgh University Press, 2024.

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.

———. Shakespeare in Tongues. New York: Routledge, forthcoming.

———. “Not-So-Ancient Grudges: Grounding Romeo and Juliet in the Histories of the US–Mexico Borderlands.” In Approaches to Teaching Shakespeare’s Romeo and Juliet, edited by Joseph M. Ortiz, 144–50. New York: Modern Language Association of America, 2024.

———. “Seeing Shakespeare: Narco Narratives and Neocolonial Appropriations of Macbeth in the U.S.–Mexico Borderlands.” Literature Compass 20, nos. 7–9 (2023). 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.

———. “‘Th’oppressor’s wrong,’ or, What’s Hamlet to the Borderlands?” Latino Studies, forthcoming.

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