A collection of Latina plays, performance pieces, and "testimonios" focus on race, gender, class, sexual identity, and the empowerment of an educated class of women.

Queering the Popular Pitch is a new collection of 19 essays that situate queering within the discourse of sex and sexuality in relation to popular music. This investigation addresses the changing debates within gay, lesbian and queer discourse in relation to the dissemination of musical texts -performance, cultural production and sexual meaning - situating music within the broader patterns of culture that it both mirrors and actively reproduces. The collection is divided into four parts: queering borders queer spaces hidden histories queer thoughts, mixed media. Queering the Popular Pitch will appeal to students of popular music, Gay and Lesbian studies. With case studies and essays by leading popular music scholars it provides insightful discourse in a growing field of musicological research.

This volume traces the topic of affect across Lyotard's corpus and accounts for Lyotard's crucial and original contribution to the thinking of affect. Highlighting the importance of affect in Lyotard's philosophy, this work offers a unique contribution to both affect theory and the reception of Lyotard. Affect indeed traverses Lyotard's philosophical corpus in various ways and under various names: “figure” or “the figural” in Discourse, Figure, “unbound intensities” in his “libidinal” writings, “the feeling of the différend” in The Differend, “affect” and “infantia” in his later writings. Across the span of his work, Lyotard insisted on the intractability of affect, on what he would later call the “differend” between affect and articulation. The singular awakening of sensibility, affect both traverses and escapes articulation, discourse, and representation. Lyotard devoted much of his attention to the analysis of this traversal of affect in and through articulation, its transpositions, translations, and transfers. This volume explores Lyotard's account of affect as it traverses the different fields encompassed by his writings (philosophy, the visual arts, the performing arts, literature, music, politics, psychoanalysis as well as technology and post-human studies).

In the two decades since the first edition of Contemporary Plays by Women of Color was published, its significance to the theatrical landscape in the United States has grown exponentially. Work by female writers and writers of color is more widely produced, published, and studied than ever before. Drawing from an exciting range of theaters, large and small, from across the country, Roberta Uno brings together an up-to-date selection of plays from renowned and emerging playwrights tackling a variety of topics. From the playful to the painful, this revised and updated edition presents a rich array of voices, aesthetics, and stories for a transforming America.

Latina theater and solo performance emerged in the 1990s as vibrant, energetic new genres found on stages from New York to Los Angeles. Many women now work in all aspects of Latina theater—often as playwrights or solo performers—with practitioners ranging from teenagers to grandmothers. Alberto Sandoval-Sánchez and Nancy Saporta Sternbach have previously published a groundbreaking anthology of Latina theater, Puro Teatro. They now offer a critical analysis of theatrical works, presenting a theoretical perspective from which to examine, understand, and contextualize Latina theater as a genre in its own right. This is the first in-depth study of the entire corpus of Latina theater, based on close readings of works both published and in manuscript. It considers a large body of productions and performances, including works by such internationally known authors as Dolores Prida, Cherríe Moraga, and Janis Astor del Valle. Applying feminist and postcolonial theory as well as theories of transculturation, Sandoval-Sánchez and Sternbach show how, despite cultural differences among Latinas, their works share a common poetics by building upon the politics of representation, identity, and location. In addition to covering theater, this study also shows that solo performance has its own history, properties, structure, and poetics. It examines performances of Carmelita Tropicana, Monica Palacios, and Marga Gomez—artists whose hybrid identities as Latina lesbians constitute living examples of transculturation in the making—to show how solo performance has roots in and digresses from more traditional modes of theater. With their Latina heritage as a unifying link, these women reflect common traits, patterns, dramatic structures, and properties that overcome regional differences. Stages of Life reads these eclectic cultural productions as a unified body of work that contributes to the formation of Latina identity in America today.

A key way to view Latina plays today is through the foundational frame of playwright and teacher, Maria Irene Fornes, who has transformed American theatre. Considering Fornes's legacy, Anne García-Romero shows how five award-winning playwrights continue to contest and complicate Latina theatre.

In one of the most rapidly growing areas of literary study, this volume provides the first comprehensive guide to teaching Latino/a literature in all variety of learning environments. Essays by internationally renowned scholars offer an array of approaches and methods to the teaching of the novel, short story, plays, poetry, autobiography, testimonial, comic book, children and young adult literature, film, performance art, and multi-media digital texts, among others. The essays provide conceptual vocabularies and tools to help teachers design courses that pay attention to: Issues of form across a range of storytelling media Issues of content such as theme and character Issues of historical periods, linguistic communities, and regions Issues of institutional classroom settings The volume innovatively adds to and complicates the broader humanities curriculum by offering new possibilities for pedagogical practice.

The current practice of the cult of María Lionza is one of the most important and yet unexplored religious practices in Venezuela. Based on long-term fieldwork, this book explores the role of images and visual culture within the cult. By adopting a relational approach, A Goddess in Motion shows how the innumerable images of this goddess—represented as an Indian, white or mestizo woman—move constantly from objects to bodies, from bodies to dreams, and from the religion domain to the art world. In short, this book is a fascinating study that sheds light on the role of visual creativity in contemporary religious manifestations.

A wave of revolution swept across the United States in the sixties and the seventies. And across California, Cesar Chavez sparked the Chicano civil rights movement in the barrio, giving prominence to new leaders, new voices, and new demands for freedom from injustice and oppression. For young Javier Gomez, this battle cry would be the beginning of a fight to stand up to injustice in his home of East LA. In Mr. Gs Battle Cry!, author and civil rights activist Javier Gomez chronicles his march into the streets of East LA and beyond as he and his Chicano and Chicana brothers and sisters take up the cause of the civil rights movement and create hope for a better futureagainst great odds. Gomez also explores the history of his people, showing how their culture and their spirit was renewed during this historic era of equality and justice. Javier Gomez was inspired by the Chicano civil rights movement, and today his battle cry endures. Mr. Gs Battle Cry! gives voice to the enlightened individuals who fought, side by side, at protests, and in the streets, against the institutions of injustice that sought to keep the people silent. And today, this cultural revolution has left a living legacy of change, progress, and hope.

This book seeks to consistently explain the role of ideas and institutions in policy outcomes, and addresses the problem of how resource nationalism causes a deficit of public accountability in oil producing countries from Latin America and the Caribbean. The authors present a causal mechanism linking ideas and policy outcomes through institutional arrangements, focusing on policy design to describe the role of instruments selection and combination in improving or reducing public accountability through agenda setting, policy formulation, cross-sectorial coordination and political interplays.