Confrontation and reconcilement in contemporary native american theaterTwo Native American plays

Bibliographic References

• Allen, P. G. (1992). The sacred hoop: Recovering the feminine in American Indian traditions: with a new preface. Beacon Press.
• Däwes, B. (2007). Native North American theater in a global age: Sites of identity construction and transdifference. Winter.
• Däwes, B. (Ed.). (2013). Indigenous North American drama: A multivocal history. State University of New York.
• Diyai, S. A. A., & Muhammad, M.G. (2018). Harmony of the fabric of society in Diane Glancy’s The woman who was a red deer dressed for the deer dance. Al-Ustath Journal for Human and Social Sciences, 3, 101-114.
• Geiogamah, H. (2000). The new American Indian theater: An introduction. In Hanay G., and Jaye T. D. (Eds.). American Indian theater in performance: A reader (pp. 159-164). UCLA American Indian Studies Center.
• Glancy, D. (2002). The woman who was a red deer dressed for the deer dance. American Gypsy: Six Native American plays. University of Oklahoma Press.
• Gómez, Terry. Inter-Tribal. In K. A. Perkins & R. Uno (Eds.), Contemporary Plays by Women of Color (pp. 199-214). Routledge.
• Heath, S. A. (1995). The development of Native American theater companies in the Continental United States. [Unpublished doctoral dissertation]. University of Colorado-Boulder.
• Huntsman, J. F. 2000. Native American theatre. In H. Geiogamah & J. T. Darby (Eds.), American Indian theater in performance: A reader (pp. 81-113). UCLA American Indian Studies Center.
• King, B. (2000). Emergence and discovery: Native American theater comes of age. In H. Geiogamah & J. T. Darby (Eds.), American Indian theater in performance: A reader (pp. 165-168). UCLA American Indian Studies Center.
• Lincoln, K. (1983). Native American Renaissance. University of California Press.
• López Pérez, S. & Benali Taouis, H. (in press). Las compañías teatrales nativas de Estados Unidos: Una historia concisa para entender su labor dentro del teatro nativo-americano contemporáneo. Editorial Dykinson.
• López Pérez, S. (2018). The unstable development of contemporary Native American theater: Sites of conflict and discussion. Proceedings of the International Conferences on Social Science, Humanity and Education, 19-33.Berlin. DOI: https://doi.org/10.33422/icshe.2018.12.65
• López Pérez, S. (2019). A concise overview of Native American written literature: Early beginnings to 1968. International Journal of Languages, Literature and Linguistics, 5(3), 176-185. DOI: https://doi.org/10.18178/IJLLL.2019.5.3.223
• López Pérez, S. (2020). Confluencia entre cultura nativa y blanca en el teatro nativo-americano contemporáneo: Grandma y Grandpa (1984) de Hanay Geiogamah. Odisea: Revista de Estudios Ingleses, 20(2019), 91-104. DOI: https://doi.org/10.25115/odisea.v0i20.3416
• López Perez, S. (in press). Mundos literarios en contraste: el teatro nativo-americano contemporáneo frente a otras formas literarias. Thomson Reuters-Aranzadi.
• López Pérez, S., and Benali Taouis, H. (2016). Native American theater: A concise history. Miscelánea: A Journal of English and American Studies, 54, 93-111. DOI: https://doi.org/10.26754/ojs_misc/mj.20166882
• Wheeler, J. (1991). A Revolution in Aboriginal Theatre: Our Own Stories. Canadian Theatre Review, 8-12.
• Wilmeth, D. B. (2000). Noble or ruthless savage? The American Indian on stage and in the drama. In H. Geiogamah & J. T. Darby (Eds.), American Indian theater in performance: A reader (pp. 127-156). UCLA American Indian Studies Center.
• Wong, H. D. (1991). Adoptive Mothers and Thrown-Away Children in the Novels of Louise Erdrich. In B. O. Daly & M. T. Reddy (Eds.), Narrating Mothers: Theorizing Maternal Subjectivities (pp. 174-192). University of Tennessee Press.
• Yashpreet, D. (2015). Amalgamation of Inter-generational and Gender Realities in Inter Tribal. International Journal of English Language, Literature and Humanities, 3(1), 149–156.