The Creation of Identity in the Radicial Plays of Langston Hughes
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A History of African American Theatre Errol G
Cambridge University Press 978-0-521-62472-5 - A History of African American Theatre Errol G. Hill and James V. Hatch Frontmatter More information AHistory of African American Theatre This is the first definitive history of African American theatre. The text embraces awidegeographyinvestigating companies from coast to coast as well as the anglo- phoneCaribbean and African American companies touring Europe, Australia, and Africa. This history represents a catholicity of styles – from African ritual born out of slavery to European forms, from amateur to professional. It covers nearly two and ahalf centuries of black performance and production with issues of gender, class, and race ever in attendance. The volume encompasses aspects of performance such as minstrel, vaudeville, cabaret acts, musicals, and opera. Shows by white playwrights that used black casts, particularly in music and dance, are included, as are produc- tions of western classics and a host of Shakespeare plays. The breadth and vitality of black theatre history, from the individual performance to large-scale company productions, from political nationalism to integration, are conveyed in this volume. errol g. hill was Professor Emeritus at Dartmouth College, Hanover, New Hampshire before his death in September 2003.Hetaughtat the University of the West Indies and Ibadan University, Nigeria, before taking up a post at Dartmouth in 1968.His publications include The Trinidad Carnival (1972), The Theatre of Black Americans (1980), Shakespeare in Sable (1984), The Jamaican Stage, 1655–1900 (1992), and The Cambridge Guide to African and Caribbean Theatre (with Martin Banham and George Woodyard, 1994); and he was contributing editor of several collections of Caribbean plays. -
WARD, THEODORE, 1902-1983. Theodore Ward Collection, 1937-2009
WARD, THEODORE, 1902-1983. Theodore Ward collection, 1937-2009 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Ward, Theodore, 1902-1983. Title: Theodore Ward collection, 1937-2009 Call Number: Manuscript Collection No. 1166 Extent: 1.5 linear feet (3 boxes) Abstract: Collection of materials relating to African American playwright Theodore Ward including personal papers, play scripts, and printed material associated with his plays. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Related Materials in Other Repositories Theodore Ward papers, J. Willard Marriott Library, University of Utah. Theodore Ward plays, Play Script Collection, New York Public Library. Source Gift of James V. Hatch and Camille Billops, 2011 Custodial History Forms part of the Camille Billops and James V. Hatch Archives at Emory University. Citation [after identification of item(s)], Theodore Ward collection, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Theodore Ward collection, 1937-2009 Manuscript Collection No. 1166 Appraisal Note Acquired by Curator of African American Collections, Randall Burkett, as part of the Rose Library's holdings in African American theater. Processing Arranged and described at the file level by Courtney Chartier and Sarah Quigley, 2017. This finding aid may include language that is offensive or harmful. -
RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945
1 RESISTANCE MADE IN HOLLYWOOD: American Movies on Nazi Germany, 1939-1945 Mercer Brady Senior Honors Thesis in History University of North Carolina at Chapel Hill Department of History Advisor: Prof. Karen Hagemann Co-Reader: Prof. Fitz Brundage Date: March 16, 2020 2 Acknowledgements I want to thank Dr. Karen Hagemann. I had not worked with Dr. Hagemann before this process; she took a chance on me by becoming my advisor. I thought that I would be unable to pursue an honors thesis. By being my advisor, she made this experience possible. Her interest and dedication to my work exceeded my expectations. My thesis greatly benefited from her input. Thank you, Dr. Hagemann, for your generosity with your time and genuine interest in this thesis and its success. Thank you to Dr. Fitz Brundage for his helpful comments and willingness to be my second reader. I would also like to thank Dr. Michelle King for her valuable suggestions and support throughout this process. I am very grateful for Dr. Hagemann and Dr. King. Thank you both for keeping me motivated and believing in my work. Thank you to my roommates, Julia Wunder, Waverly Leonard, and Jamie Antinori, for being so supportive. They understood when I could not be social and continued to be there for me. They saw more of the actual writing of this thesis than anyone else. Thank you for being great listeners and wonderful friends. Thank you also to my parents, Joe and Krista Brady, for their unwavering encouragement and trust in my judgment. I would also like to thank my sister, Mahlon Brady, for being willing to hear about subjects that are out of her sphere of interest. -
Aberdeen, S.Dak.: Bakeries In, 282–300; Churches In, 256N3, 287
Copyright © 2019 South Dakota State Historical Society. All Rights Reserved. INDEX Aberdeen, S.Dak.: bakeries in, 282–300; churches Fall of Lillian Frances Smith: revd., 324, 326 in, 256n3, 287; historic district in, 283n3; hospital Amerikan Suomalainen, 267 in, 23; immigration to, 257, 259, 283–84; railroads Anarchy U.S.A. (film), 188 in, 282–83; schools in, 9, 23; and WWI, 1–31 Anderson, Timothy G.: book by, revd., 80, 82 Aberdeen American- News, 291, 293, 296, 297–98, Anderson, William: blog post by, 75–77 300 Anglo- Ashanti Campaign, 105n36 Aberdeen Daily American, 3–4, 20, 21, 290 Anishinaabe Indians, 183 Aberdeen Daily News, 289, 292 Anti- communism, 188, 193 Aberdeen Democrat, 288 Apache Indians, 87 African Gold Coast, 105n36 Appeal to Reason, 238–39 Agrarianism, 223, 236–37, 243 Arapaho Indians, 87 Agriculture, 201; farm size and income, 228, 234; Arikara Indians, 200n1, 201–15, 219 grasshopper plagues, 74, 220, 224, 243, 246; and Army- Navy Nurses Act of 1947, 8n12 Great Depression, 220–48; Laura Ingalls Wilder Artesian, S.Dak., 235 and, 59–60, 70–72; and WWI, 222 Arviso, Vivian, 178 Agriculture Adjustment Act of 1933, 240 Ascension Presbyterian Church (Peever), 306–7 Aid to Dependent Children, 241 Ashley, William Henry, 213 Akwesasne Notes, 187, 192 Ashley Island, 202, 211 Alcantara (Franciscan nun), 316 Assimilation, 147, 177 Alcoholism, 181, 196. See also Prohibition Assiniboine River, 200n1 Alexander, Benjamin: book by, revd., 329 Assiniboin Indians, 116n48 Alexander I, 284 Associated Press, 38, 39 Allen, Eustace A., 27 Augur, Christopher C., 160 Almlie, Elizabeth J., 301 Augustana Swedish Lutheran Church, 255, 272–76, Alway, R. -
ABSTRACT Title of Document: from the BELLY of the HUAC: the RED PROBES of HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philos
ABSTRACT Title of Document: FROM THE BELLY OF THE HUAC: THE RED PROBES OF HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philosophy, 2009 Directed By: Dr. Maurine Beasley, Journalism The House Un-American Activities Committee, popularly known as the HUAC, conducted two investigations of the movie industry, in 1947 and again in 1951-1952. The goal was to determine the extent of communist infiltration in Hollywood and whether communist propaganda had made it into American movies. The spotlight that the HUAC shone on Tinsel Town led to the blacklisting of approximately 300 Hollywood professionals. This, along with the HUAC’s insistence that witnesses testifying under oath identify others that they knew to be communists, contributed to the Committee’s notoriety. Until now, historians have concentrated on offering accounts of the HUAC’s practice of naming names, its scrutiny of movies for propaganda, and its intervention in Hollywood union disputes. The HUAC’s sealed files were first opened to scholars in 2001. This study is the first to draw extensively on these newly available documents in an effort to reevaluate the HUAC’s Hollywood probes. This study assesses four areas in which the new evidence indicates significant, fresh findings. First, a detailed analysis of the Committee’s investigatory methods reveals that most of the HUAC’s information came from a careful, on-going analysis of the communist press, rather than techniques such as surveillance, wiretaps and other cloak and dagger activities. Second, the evidence shows the crucial role played by two brothers, both German communists living as refugees in America during World War II, in motivating the Committee to launch its first Hollywood probe. -
Hall Johnson's Choral and Dramatic Works
Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925-1939) The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Wittmer, Micah. 2016. Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925-1939). Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718725 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925-1939) A dissertation presented by Micah Wittmer To The Department of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Music Harvard University Cambridge, Massachusetts January, 2016 © 2016, Micah Wittmer All rights reserved. Dissertation Advisor: Professor Carol J. Oja Micah Wittmer -- Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925-1939) Abstract This dissertation explores the portrayal of Negro folk culture in concert performances of the Hall Johnson Choir and in Hall Johnson’s popular music drama, Run, Little Chillun. I contribute to existing scholarship on Negro spirituals by tracing the performances of these songs by the original Fisk Jubilee singers in 1867 to the Hall Johnson Choir’s performances in the 1920s-1930s, with a specific focus on the portrayal of Negro folk culture. -
Articles 2015 年 6 月 第 48 巻
日本大学生産工学部研究報告B Articles 2015 年 6 月 第 48 巻 Wright and Hughes: Chicago and Two Major African American Writers Toru KIUCHI* and Noboru FUKUSHIMA* (Received December 16, 2014) Abstract The Chicago Renaissance has long been considered a less important literary movement for American modernism than the Harlem Renaissance. The differences between the two movements have to do not only with history, but with aesthetics. While the Harlem Renaissance began in the 1920s—flourishing during the decade, but fading during the 30s in the throes of the Depression—the Chicago Renaissance had its origin in the turn of the nineteenth century, from 1890 to 1920, gathering momentum in the 30s, and paving the way for modern and postmodern realism in American literature ever since. Theodore Dreiser was the leader for the first period of the movement, and Richard Wright was the most influential figure for the second period. The first section of this article will examine not only the continuity that existed between the two periods in the writers’ worldviews but also the techniques they shared. To portray Chicago as a modern, spacious, cosmopolitan city, the writers of the Chicago Renaissance sought ways to reject traditional subject matter and form. The new style of writing yielded the development of a distinct cultural aesthetic that reflected ethnically diverse sentiments and aspirations. The panel discussion will focus on the fact that while the Harlem Renaissance was dominated by African American writers, the Chicago Renaissance thrived on the interactions between African and European American writers. Much like modern jazz, writings in the Chicago Renaissance became the hybrid, cross-cultural product of black and white Americans. -
John M. Weatherwax Collection SPC.2015.005
http://oac.cdlib.org/findaid/ark:/13030/c86h4nx1 No online items Inventory of the John M. Weatherwax Collection SPC.2015.005 Karen Clemons California State University Dominguez Hills, Gerth Archives and Special Collections 2021-04-22 University Library South -5039 (Fifth Floor) 1000 E. Victoria St. Carson, CA 90747 [email protected] URL: https://www.csudh.edu/libarchives/ Inventory of the John M. SPC.2015.005 1 Weatherwax Collection SPC.2015.005 Contributing Institution: California State University Dominguez Hills, Gerth Archives and Special Collections Title: John M. Weatherwax Collection Creator: Weatherwax, John M. (John Martin), 1900-1984 source: National Committee to Secure Justice in the Rosenberg Case source: Los Angeles Committee to Secure Justice in the Rosenberg Case source: National Federation for Constitutional Liberties source: American Committee for Protection of Foreign Born source: Los Angeles Committee for Protection of Foreign Born source: Crane-Gartz, Kate source: Weatherwax, Clara , 1905-1958 Identifier/Call Number: SPC.2015.005 Physical Description: 33 boxes Physical Description: 14.6 Linear Feet Date (inclusive): 1913-1981; undated Date (bulk): 1930-1960 Abstract: This collection contains material collected and written by John M. Weatherwax such as correspondence, manuscripts, essays, film treatments, research notes, pamphlets, leaflets, flyers, programs, mailers, and other documents. Material authored by Weatherwax includes drafts of manuscripts, essays, novellas, articles, radio transcripts, and film treatments; as well as notes, revisions, and related research material. Collected material is from organizations such as American Committee for Protection of Foreign Born, National Federation for Constitutional Liberties, Los Angeles Committee to Secure Justice for the Rosenbergs, Alameda County Labor Party, Communist Party of Los Angeles, Socialist Labor Party, and other organizations, groups, and publications focused on sociopolitical issues. -
Scientific and Cultural Conference for World Peace
REVIEW OF THE SCIENTIFIC AND CULTURAL CONFERENCE FORWORLD PEACE ARRANGED BY THE NATIONAL COUNCIL O~ THE ARTS, SCIENCES AND PROFESSIONS AND HELD IN NEW YORK CITY ON MARCH 25, 26, and 27, 1949 APRIL 19, 1949 Prepared and released by the COMMITTEE ON UN-AMERICAN ACTIVITIES, U. S. HOUSE OP REPRESENTATIVES WASHINGTON, D. C. COMMITTEE ON"UN';A:MERICAN' ACTIVITIES, UNITED STATES HOUSE OF REPRESEKTJ\TIVES JOHN B.WOOD, Georgia, Chairman FRANCISE. WALTER, Pcnnsyivanla J. PARNELL THOMAS, New]ersey BURR P. HA.RRISON,Virglnin RICHARD M. NIXON, California JOHN McSWEENEY, Ohio FRANCIS CA.SE, SouthDakota MORGAN M. MOULDER, Missouri HAROLD H. VELDE, illinois LOUIS J. RUSSELL, Senior. IflIJe&tioatoT :attNl~~nNMANDEL, Direclor: Of lU8earch JOlIN W. CARRINGTON, Olerk Of Comrn!t(ie II ~ ... " :... X" ~.~ ...... \" .', - . / A REVIEW OF THE SCIENTIFIC AND CULTURAL CONFERENCE FOR WORLD PEACE ARRANGED BY THE NATIONAL COUN CIL OF THE ARTS, SCIENCES, AND PROFESSIONS AND HELD IN NEW YORK CITY ON MARCH 25, 26,. AND 27, 1949 Parading under the imposing title of the Scientific and Cultural Conference lor World Peace the gathering at the Waldorf~A~toria 'Hotel in New York City on 1tlarch 25, 26, and 27, 1949, was actually a supermabilization of the inveterate wheelhors~s and supporters of the Communist Party and' its auxiliary organizations. It was in a sense a glorified pyramid club, pyramiding into one inflated front the names which had time and again been used by the' Communists as. decoys for the entrapment of innocents. The Communist-front connections of these sponsors, as reflected by the tabulation in this report, are very extensive. -
1 Executing Whiteness: Popular Representations
1 EXECUTING WHITENESS: POPULAR REPRESENTATIONS OF CAPITAL PUNISHMENT IN THE UNITED STATES, 1915-1940 Daniel LaChance1 This is a work in progress; please do not cite or circulate without the permission of the author. A hush falls over the death house. The witnesses assemble in the death chamber. The final curtain in this drama, where human life plays the leading role, is about to rise.2 Whitner Cary, The Atlanta Constitution, 1928 Over the course of the nineteenth century, elites in the United States increasingly sought to privatize executions and standardize execution protocols. The source of this change is well known to historians of punishment: a fear that public executions had become unwieldy spectacles drove state actors to move these events into jail yards, at first, and then, with the advent of new technologies like the electric chair (1890) and the gas chamber (1924), into the interior of centralized prisons that were often far from the county in which the crime had occurred.3 Access to executions was dramatically curtailed—limited, in most places, to professionals whose restraint and solemnity would reinforce the emerging technocratic ethos of the punishment.4 In some states, newspapers were unsuccessfully banned from reporting details beyond the fact that the execution had been carried out.5 Indeed, the desire to bring an end to the 1 Assistant Professor of History, Emory University ([email protected]). My thanks to Princeton University students Julie Chen, Ghita Guessous, Lawrence Liu, and Jessica Zou for their excellent research assistance on this project. Thanks also to Rebecca McLennan and peter Brooks, who provided helpful commentary on earlier versions of this essay at the 2013 Annual Meetings of the American Society for Legal History and the April 21, 2014 Seminar in Law and Public Affairs at Princeton University, respectively. -
And the German-American Bund Eric J
anti-nazi sentiment in film THE PICTURE THAT WILL OPEN THE EYES OF 130,000,000 AMERICANS! confessions of a nazi spy and the german-american bund eric j. sandeen In February 1938 the FBI broke a large German spy ring which was operating in the New York City area. From the bizarre and melodramatic details of this operation Warner Brothers made Confessions of a Nazi Spy, a film which holds our attention today not so much for the skill with which it was made as for the turning point it represented. It abandoned the stance of United States neutrality, an attitude which Hollywood had sedulously honored; the film established the aggressive foreign policy of Nazi Germany and portrayed the seditious activity of German oper atives. Confessions of a Nazi Spy was written, directed and, for the most part, acted out by members of Hollywood's emigre community. Through the film, American world responsibilities and American preparedness FIGURE ONE: The 1940 re-release of the film emphasized its controversial nature. Courtesy of United Artists Publicity Department. 69 were strongly advocated. To drive home their point, the makers of the film also first magnified the importance of, and then attacked, the Ger man-American Bund, which they saw as an organ of the Nazi government. To increase the outrage of an audience not committed to foreign en tanglements, the Bund was portrayed as an un-American, seditious branch of Nazi operations; in fact, the Bund, a fanatical organization, embar rassed the German government so much that by the end of 1937 they would have little to do with it. -
Finding a New Home in Harlem: Alice Childress and the Committee for the Negro in the Arts
University of Massachusetts Boston ScholarWorks at UMass Boston American Studies Faculty Publication Series American Studies 5-2017 Finding a New Home in Harlem: Alice Childress and the Committee for the Negro in the Arts Judith E. Smith University of Massachusetts Boston, [email protected] Follow this and additional works at: https://scholarworks.umb.edu/amst_faculty_pubs Part of the African American Studies Commons, American Studies Commons, Theatre History Commons, and the Women's Studies Commons Recommended Citation Smith, Judith E., "Finding a New Home in Harlem: Alice Childress and the Committee for the Negro in the Arts" (2017). American Studies Faculty Publication Series. 14. https://scholarworks.umb.edu/amst_faculty_pubs/14 This Conference Proceeding is brought to you for free and open access by the American Studies at ScholarWorks at UMass Boston. It has been accepted for inclusion in American Studies Faculty Publication Series by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. Finding a New Home in Harlem: Alice Childress and the Committee for the Negro in the Arts |Paper presented for a panel, “Home Matters,” at the American Literature Association Conference, Boston MA, May 25-28, 2017 Judith E. Smith American Studies University of Massachusetts Alice Childress’s performing career in the 1940s was primarily associated with the American Negro Theater, a collectively run professional theater company with a mission to nurture black talent and create compelling theater for Harlem audiences; as Childress would later comment, “We thought we were Harlem’s theater.” ANT made use of all available resources to accomplish this mission; producing plays written by black and white playwrights, hiring white teachers, and accepting white actors and technicians committed to its goals.