Cherríe Moraga

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  • Adams, Kate. "Northamerican Silences: History, Identity, and Witness in the Poetry of Gloria Anzaldúa, Cherríe Moraga, and Leslie Marmon Silko." In Listening to Silences: New Essays in Feminist Criticism, pp. 130-45. Edited by Elaine Hedges and Shelley Fisher Fishkin. New York and Oxford: Oxford University Press, 1994. (Explores the ways in which the poetry of Moraga, along with Anzaldúa and Silko, challenges "the silencing forces of cultural and literary history.")
  • Arrizón, Alicia. “Mythical Performativity: Relocating Aztlán in Chicana Feminist Cultural Productions.” Theatre Journal: Latino Performance 52, no. 1 (March 2000): 23-49. (A study of Aztlán, the ancient homeland of the Aztecs, in feminist Chicana theatre with a special focus on Cherríe Moraga's The Hungry Woman: The Mexican Medea.)
  • Foster, David William. "Homoerotic Writing and Chicano Authors." In Sexual Textualities: Essays on Queer/ing Latin American Writing, pp. 73-86. Austin: University of Texas Press, 1997. (Contains a discussion of Moraga that focuses on "the intersection between Moraga's Chicana lesbianism and the relationship between Spanish and English that is established through bilingual code-switching.")
  • Gant-Britton, Lisbeth. “Mexican Women and Chicanas Enter Futuristic Fiction.” In Future Females, The Next Generation: New Voices and Velocities in Feminist Science Fiction Criticism, edited by Marleen S. Barr, pp. 261-76. Oxford, England: Rowman & Littlefield Publishers Inc., 2000. (Argues that Laura Esquivel's The Law of Love and Cherríe Moraga's The Hungry Woman: The Mexican Medea use the model of futuristic fiction as a method of exploring Chicana identity.)
  • Gaspar de Alba, Alicia. "Tortillerismo: Work by Chicana Lesbians." Signs 18, no. 4 (Summer 1993): 956-63. (Surveys works published in the United States by and about Chicana lesbians, including Moraga's This Bridge Called My Back.)
  • Herra-Sobek, Maria. “The Politics of Rape: Sexual Trangressions in Chicana Fiction.” In Chicana Creativity and Criticism: Charting New Frontiers in American Fiction, edited by Maria Herrera-Sobek and Helena Maria Viramontes, pp. 171-81. Houston, Tex.: Arte Publico Press, 1988. (Discusses how Chicana writers, Moraga among them, have used rape as a method of exposing and confronting male-dominated society and woman's marginalized status within it.)
  • Marrero, María Theresa. “Out of the Fringe: Desire and Homosexuality in the '90s Latino Theatre.” Latin American Theatre Review 32, no. 2 (Spring 1999): 87-103. (An analysis of several gay and lesbian themes in drama by Latino artists during the mid-1990s, including Moraga's The Hungry Woman: The Mexican Medea.)
  • Romero, Lora. “‘When Something Goes Queer’: Familiarity, Formalism, and Minority Intellectuals in the 1980s.” Yale Journal of Criticism 6, no. 1 (April 1993): 121-41. (Explores Moraga's early estrangement from and eventual return to the Chicano Movement.)
  • Szadziuk, Maria. “Culture as Transition: Becoming a Woman in Bi-Ethnic Space.” Mosaic 32, no. 3 (September 1999): 109-29. (Discusses the nature of autobiographical narrative influences on three Hispanic writers: Esmeralda Santiago, Sandra Cisneros, and Cherríe Moraga.)
  • Yarbro-Bejarano, Yvonne. “Giving Up the Ghost: Feminist Theory and the Staging of Mestiza Desire.” In The Wounded Knee: Writing on Cherríe Moraga, pp. 31-47. Austin, Tex.: University of Texas Press, 2001. (Uses Moraga's essay “A Long Line of Vendidas” for insight into the feminist, racial, and sexual issues explored in Giving Up the Ghost.)
  • Yarbro-Bejarano, Yvonne. “The Female Subject in Chicano Theatre: Sexuality, ‘Race,’ and Class.” Theatre Journal: Theatre of Color 38, no. 4 (December 1986): 389-407. (Overview of the Chicano theatre movement in America dating to 1965 with special emphasis of the roles of women in that movement and how they have been represented therein, discussing in part Giving Up the Ghost.)

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Moraga, Cherríe (Drama Criticism)

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