No play in the history of the American Stage has been as ubiquitous and as widely viewed as Uncle Tom's Cabin . This book traces the major dramatizations of Stowe's classic from its inception in 1852 through modern versions on film. Frick introduce the reader to the artists who created the plays and productions that created theatre history.
In the tumultuous decades of rapid expansion and change between the American Founding and the Civil War, Americans confronted a cluster of overlapping crises whose common theme was the difficulty of finding authority in written texts. The issue arose from several disruptive developments: rising challenges to the traditional authority of the Bible in a society that was intensely Protestant; persistent worries over America's lack of a “national literature” and an independent cultural identity; and the slavery crisis, which provoked tremendous struggles over clashing interpretations of the Declaration of Independence and the Constitution, even as these “parascriptures” were rising to the status of a kind of quasi-sacred secular canon. At the same time but from the opposite direction, new mass media were creating a new, industrial-scale print culture that put a premium on very non-sacred, disposable text: mass-produced “news,” dispensed immediately and in huge quantities but meant only for the day or hour. Perpetual Scriptures in Nineteenth-Century America identifies key features of the writings, careers and cultural politics of several prominent Americans as responses to this cluster of challenges. In their varied attempts to vindicate the sacred and to merge the timeless with the urgent present, Joseph Smith, Ralph Waldo Emerson, Margaret Fuller, Theodore Parker, Harriet Beecher Stowe, Walt Whitman, Frederick Douglass, Martin Delany, Abraham Lincoln, and other religious and political leaders and men and women of letters helped define American literary culture as an ongoing quest for new “bibles,” or what Emerson called a “perpetual scripture.”
In the mid-19th century, rhetoric surrounding slavery was permeated by violence. Slavery’s defenders often used brute force to suppress opponents, and even those abolitionists dedicated to pacifism drew upon visions of widespread destruction. Provocative Eloquence recounts how the theater, long an arena for heightened eloquence and physical contest, proved terribly relevant in the lead up to the Civil War. As antislavery speech and open conflict intertwined, the nation became a stage. The book brings together notions of intertextuality and interperformativity to understand how the confluence of oratorical and theatrical practices in the antebellum period reflected the conflict over slavery and deeply influenced the language that barely contained that conflict. The book draws on a wide range of work in performance studies, theater history, black performance theory, oratorical studies, and literature and law to provide a new narrative of the interaction of oratorical, theatrical, and literary histories of the nineteenth-century U.S.
In Anteaesthetics, Rizvana Bradley begins from the proposition that blackness cannot be represented in modernity's aesthetic regime, but is nevertheless foundational to every representation. Troubling the idea that the aesthetic is sheltered from the antiblack terror that lies just beyond its sanctuary, Bradley insists that blackness cannot make a home within the aesthetic, yet is held as its threshold and aporia. The book problematizes the phenomenological and ontological conceits that underwrite the visual, sensual, and abstract logics of modernity. Moving across multiple histories and geographies, artistic mediums and forms, from nineteenth-century painting and early cinema, to the contemporary text-based works, video installations, and digital art of Glenn Ligon, Mickalene Thomas, and Sondra Perry, Bradley inaugurates a new method for interpretation—an ante-formalism which demonstrates how black art engages in the recursive deconstruction of the aesthetic forms that remain foundational to modernity. Foregrounding the negativity of black art, Bradley shows how each of these artists disclose the racialized contours of the body, form, and medium, even interrogating the form that is the world itself. Drawing from black critical theory, Continental philosophy, film and media studies, art history, and black feminist thought, Bradley explores artistic practices that inhabit the negative underside of form. Ultimately, Anteaesthetics asks us to think philosophically with black art, and with the philosophical invention black art necessarily undertakes.
Examines acts of showing--from dog shows to striptease--to understand and theorize instances of heightened performance in everyday life as well as on the stage
Williams, the author of Hard Core, explores how these images took root, beginning with melodramatic theater, where suffering characters acquire virtue through victimization."--BOOK JACKET.
Race and Vision in the Nineteenth-Century United States is a collection of twelve essays by cultural critics that exposes how fraught relations of identity and race appear through imaging technologies in architecture, scientific discourse, sculpture, photography, painting, music, theater, and, finally, the twenty-first century visual commentary of Kara Walker. Throughout these essays, the racial practices of the nineteenth century are juxtaposed with literary practices involving some of the most prominent writers about race and identity, such as Herman Melville and Harriet Beecher Stowe, as well as the technologies of performance including theater and music. Recent work in critical theories of vision, technology, and the production of ideas about racial discourse has emphasized the inextricability of photography with notions of race and American identity. The collected essays provide a vivid sense of how imagery about race appears in the formative period of the nineteenth-century United States.
1. This book is a fascinating look at how early cinema and moving images inspired and were inspired by other more static forms of visual culture, such as painting, photography, and tableaux vivants. The contributors to this volume demonstrate how cinema responded to and was positioned within broader artistic and cultural frameworks. 2. This book is another strong contribution to the Proceedings of Domitor series, of which we are now the sole publishers. 3. It will benefit from our well established reputation in early cinema studies.
