CRITICISM

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.

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.

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. “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.

———. “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.

Additional coverage of Moraga's life and career is contained in the following sources published by the Gale Group: Contemporary Authors, Vol. 131; Contemporary Authors New Revision Series, Vol. 66; Contemporary Literary Criticism, Vol. 126; Dictionary of Literary Biography, Vols. 82, 249; DISCovering Authors Modules: Multicultural Authors; Feminist Writers; Gay and Lesbian Literature, Ed. 1; Hispanic Writers, Eds. 1, 2; Latino and Latina Writers, Vol. 1; and Literature Resource Center.