Ana Elena Puga
Biographic Data
| ID | 1695935 |
|---|---|
| NAME | Ana Elena Puga |
| GIVEN NAMES | Ana Elena |
| FAMILY NAME | Puga |
| SIGNATURE | PUGA A E |
| AFFILIATIONS | The Ohio State University |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Gentle Transnational Spirits: The Okazaki Art Theatre’s Immigrant Ghost Stories
Kamisato Yudai’s Immigrant Ghost Stories (2022) evokes past generations that suffered violence yet nevertheless haunt the present as gentle spirits, whether as reincarnated animals, reincarnated people, or repeated patterns of physical gesture and movement. Blurring the borders between fiction and documentary, storytelling and physical theatre, the work stages transnationality as both an economic practice and a sociocultural necessity, encouragin…
The Caravana of Central American Mothers in Mexico: Performances of Devotional and Saintly Motherhood on a Transnational Stage-in-Motion
Like earlier mother activism in Latin America, the annual Caravana de Madres Centroamericanas (Caravan of Central American Mothers) through Mexico strategically activates the traditional archetype of mothers as passive, pious, suffering victims whose self-abnegation forces them, almost against their will, out of their supposedly natural domestic sphere. Three elements, however, distinguish the caravana from earlier protests staged by mothers. Fir…
Performances of Suffering in Latin American Migration: Heroes, Martyrs and Saints
Migrant melodrama and the political economy of suffering
This article deploys the term “migrant melodrama” to describe contemporary cultural production that trains a melodramatic imagination on migrants. It argues that migrant melodrama often reconfigures suffering as a necessary step in the progress toward inclusion and belonging. To interrogate this assumption, the article analyzes three prominent examples of migrant melodramas that feature children traveling north across national borders without adu…
Migrant melodrama and Elvira Arellano
The Abstract Allegory of Griselda Gambaro's Stripped (El despojamiento)
In this one-act play, written as Argentina began to slide into a repressive dictatorship and produced just as the country was returning to democracy, Griselda Gambaro improvises on the allegorical genre so as to allow for multiple, simultaneous, interdependent perspectives on an enigmatic theatrical universe. "Abstract allegory," as practiced by Gambaro, is a more sophisticated political and aesthetic strategy than either what Fredric Jameson cal…
El Loco y la Triste (review)
Juan Radrigán wrote El loco y la triste in 1985 in Chile during the twelfth year of General Pinochet's seventeen-year dictatorship. Under Pinochet, the poor were considered dissidents because they benefited from and relied on the economic restructuring attempted by Socialist President Salvador Allende, whom he deposed. While the military regime pursued free-market economic policies that shrank wages and eliminated many jobs to make the poor less …
Migrant melodrama and the political economy of suffering
This article deploys the term “migrant melodrama” to describe contemporary cultural production that trains a melodramatic imagination on migrants. It argues that migrant melodrama often reconfigures suffering as a necessary step in the progress toward inclusion and belonging. To interrogate this assumption, the article analyzes three prominent examples of migrant melodramas that feature children traveling north across national borders without adu…
Migrant melodrama and Elvira Arellano
El Loco y la Triste (review)
Juan Radrigán wrote El loco y la triste in 1985 in Chile during the twelfth year of General Pinochet's seventeen-year dictatorship. Under Pinochet, the poor were considered dissidents because they benefited from and relied on the economic restructuring attempted by Socialist President Salvador Allende, whom he deposed. While the military regime pursued free-market economic policies that shrank wages and eliminated many jobs to make the poor less …
The Abstract Allegory of Griselda Gambaro's Stripped (El despojamiento)
In this one-act play, written as Argentina began to slide into a repressive dictatorship and produced just as the country was returning to democracy, Griselda Gambaro improvises on the allegorical genre so as to allow for multiple, simultaneous, interdependent perspectives on an enigmatic theatrical universe. "Abstract allegory," as practiced by Gambaro, is a more sophisticated political and aesthetic strategy than either what Fredric Jameson cal…
Migrant melodrama and Elvira Arellano
Migrant melodrama and the political economy of suffering
This article deploys the term “migrant melodrama” to describe contemporary cultural production that trains a melodramatic imagination on migrants. It argues that migrant melodrama often reconfigures suffering as a necessary step in the progress toward inclusion and belonging. To interrogate this assumption, the article analyzes three prominent examples of migrant melodramas that feature children traveling north across national borders without adu…
Performances of Suffering in Latin American Migration: Heroes, Martyrs and Saints
The Caravana of Central American Mothers in Mexico: Performances of Devotional and Saintly Motherhood on a Transnational Stage-in-Motion
Like earlier mother activism in Latin America, the annual Caravana de Madres Centroamericanas (Caravan of Central American Mothers) through Mexico strategically activates the traditional archetype of mothers as passive, pious, suffering victims whose self-abnegation forces them, almost against their will, out of their supposedly natural domestic sphere. Three elements, however, distinguish the caravana from earlier protests staged by mothers. Fir…
Gentle Transnational Spirits: The Okazaki Art Theatre’s Immigrant Ghost Stories
Kamisato Yudai’s Immigrant Ghost Stories (2022) evokes past generations that suffered violence yet nevertheless haunt the present as gentle spirits, whether as reincarnated animals, reincarnated people, or repeated patterns of physical gesture and movement. Blurring the borders between fiction and documentary, storytelling and physical theatre, the work stages transnationality as both an economic practice and a sociocultural necessity, encouragin…
Law (6 works) · Political science (6 works) · Art (4 works) · Sociology (4 works) · Economics (3 works) · Gender Studies (3 works) · Latin American and Latino Studies (3 works) · Law (3 works) · Politics (3 works) · Aesthetics (2 works)