First published in 1999. Although contemporary feminist criticism has mainly focused upon American women playwrights of the twentieth century-women, there is evidence that a feminist tradition rooted deep in the nationalistic and democratic impulses of the American nation existed more than a hundred years before these women started writing. It may come as a surprise to some readers that a significant but overlooked number of women playwrights vitally contributed to the development of early American drama. This study covers the period between 1775 and 1860, a time when American men and women struggled to define themselves and their place in response to the radical economic and institutional transformations which characterized that period. Based on the assumption that women's experience of the world differs from men's, the author tries to show that the plays of my study are sites of gender inscriptions as well as collective evidence that late-eighteenth and nineteenth-century men and women were affected differently by the economic, political, and social changes that were taking place in America at that time.
Aquesta col·lecció d'assajos mostra els múltiples aspectes de la contribució que va fer la dona, al teatre americà del segle XIX. En aquest estudi s'ensenyen diversos tipus de dones i els rols que ocupen, així com reflecteix la manera que Susan Glaspell i Sophie Treadwell van ajudar a donar forma al teatre, entre moltes altres que escriurien dècades més tard.
In the late 18th and early 19th centuries, the American theater emerged as a crucial cultural space for debates around gender stereotypes, gendered conduct, sexual desire, the politics of intimacy and domesticity, female authorship, as well as the complex intersections of gender and other markers of cultural difference, such as race, ethnicity, socioeconomic class, age, or nation. This collection explores the role of gender in the formation of American theatrical culture in this period. It features essays on well-known early American dramatists such as Susanna Rowson or Judith Sargent Murray, but also sheds light on anonymous authors and more obscure theatrical practices.
This new collection of essays on American stage and film melodrama assesses the multifarious and contradictory uses to which melodrama has been put in American culture from the late 18th century to the present. It focuses on the various ways in which the genre has periodically intervened in debates over race, class, gender and sexuality and, in this manner, has also persistently contributed to the formation and transformation of American nationhood: from the debates over who constitutes the newborn nation in the Early Republic, to the subsequent conflict over abolition and the discussion of gender roles at the turn of the 19th century, to the fervent class struggles of the 1930s and the critiques of domestic containment in the 1950s, as well as to ongoing debates of gender, race, and sexuality today. Addressing these issues from a variety of different angles, including historical, aesthetic, cultural, phenomenological, and psychological approaches, these essays present a complex picture of the cultural work and passionate politics accomplished by melodrama over the course of the past two centuries, particularly at times of profound social change.
This new edition provides an expanded, comprehensive history of African American theatre, from the early nineteenth century to the present day. Including discussions of slave rebellions on the national stage, African Americans on Broadway, the Harlem Renaissance, African American women dramatists, and the New Negro and Black Arts movements, the Companion also features fresh chapters on significant contemporary developments, such as the influence of the Black Lives Matter movement, the mainstream successes of Black Queer Drama and the evolution of African American Dance Theatre. Leading scholars spotlight the producers, directors, playwrights, and actors who have fashioned a more accurate appearance of Black life on stage, revealing the impact of African American theatre both within the United States and around the world. Addressing recent theatre productions in the context of political and cultural change, it invites readers to reflect on where African American theatre is heading in the twenty-first century.
This book includes contributions by African, East and West European, Asian and North American scholars which deal with and compare ideological and non-ideological approaches to the analysis of literary, artistic as well as popular works (popular music) mostly by American authors. Most of the essays deal with a way various aspects of American identity are depicted, represented, treated, ideologized and aestheticized in different literary genres, forms of art and media. The contributions offer multidisciplinary, cross-cultural and comparative perspectives and represent a diversity of scholarly voices ranging from the general discussion on the relationship between ideology and art (Anton Pokrivčák), ideology and multiculturalism (Cristina Garrigós). They also give the analysis of poetry (Pokrivčák, Obododima Oha), postmodern fiction (Pi-Hua Ni, Cristina Garrigós), drama (Zoe Detsi-Diamanti, Csaba Csapó) as well as the comparative analysis of the depiction of the identity of North American Indians in such different media as literature and film (Michal Peprník). In addition to this, the book includes the analysis of Black rap music (Wojciech Kallas).
This study examines how early writers of jazz criticism (such as Gilbert Seldes and Carl Van Vechten) and literature (F. Scott Fitzgerald and Langston Hughes)--as well as jazz performers and composers (such as Al Jolson, Sophie Tucker, and George Gershwin)--associated the music directly with questions about identity (racial, ethnic, national, gendered, and sexual) and with historical developments like industrialization. Going beyond the study of melody, harmony, and rhythm, this book's interdisciplinary approach takes seriously the cultural beliefs about jazz that inspired interracial contact, moralistic panic, bohemian slumming, visions of American democracy, and much more. Detailed textual analysis of fiction, nonfiction, film, and musical performance illustrates the complexity of these cultural beliefs in the 1920s and also shows their survival to the present day. In part, jazz absorbed the U.S. cultural imagination due to the nineteenth-century artistic search for music that would define the national character. To the chagrin of Anglo-Saxon nativists, jazz ascended as an exemplar of cultural hybridity and pluralism. The writers and entertainers studied in this volume--most of whom were minorities of Jewish Irish or African heritage--hailed the new social possibilities that they heard and felt in jazz. Yet most of them also qualified their enthusiasm by remaining wary of both the seductions of jazz's commercialization and the loss of ethnic identity in the melting pot.