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Special Issue 4 April 2018 E-ISSN: 2456-5571
BODHI International Journal of Research in Humanities, Arts and Science An Online, Peer reviewed, Refereed and Quarterly Journal Vol: 2 Special Issue: 4 April 2018 E-ISSN: 2456-5571 UGC approved Journal (J. No. 44274) CENTRE FOR RESOURCE, RESEARCH & PUBLICATION SERVICES (CRRPS) www.crrps.in | www.bodhijournals.com BODHI BODHI International Journal of Research in Humanities, Arts and Science (ISSN: 2456-5571) is online, peer reviewed, Refereed and Quarterly Journal, which is powered & published by Center for Resource, Research and Publication Services, (CRRPS) India. It is committed to bring together academicians, research scholars and students from all over the world who work professionally to upgrade status of academic career and society by their ideas and aims to promote interdisciplinary studies in the fields of humanities, arts and science. The journal welcomes publications of quality papers on research in humanities, arts, science. agriculture, anthropology, education, geography, advertising, botany, business studies, chemistry, commerce, computer science, communication studies, criminology, cross cultural studies, demography, development studies, geography, library science, methodology, management studies, earth sciences, economics, bioscience, entrepreneurship, fisheries, history, information science & technology, law, life sciences, logistics and performing arts (music, theatre & dance), religious studies, visual arts, women studies, physics, fine art, microbiology, physical education, public administration, philosophy, political sciences, psychology, population studies, social science, sociology, social welfare, linguistics, literature and so on. Research should be at the core and must be instrumental in generating a major interface with the academic world. It must provide a new theoretical frame work that enable reassessment and refinement of current practices and thinking. This may result in a fundamental discovery and an extension of the knowledge acquired. -
Here May Is Not Rap Be Music D in Almost Every Major Language,Excerpted Including Pages Mandarin
ENCYCLOPEDIA OF THE BLACK ARTS MOVEMENT ed or printed. Edited by istribut Verner D. Mitchell Cynthia Davis an uncorrected page proof and may not be d Excerpted pages for advance review purposes only. All rights reserved. This is ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London 18_985_Mitchell.indb 3 2/25/19 2:34 PM ed or printed. Published by Rowman & Littlefield An imprint of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 istribut www.rowman.com 6 Tinworth Street, London, SE11 5AL, United Kingdom Copyright © 2019 by The Rowman & Littlefield Publishing Group Inc. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Names: Mitchell, Verner D., 1957– author. | Davis, Cynthia, 1946– author. Title: Encyclopedia of the Black Arts Movement / Verner D. Mitchell, Cynthia Davis. Description: Lanhaman : uncorrectedRowman & Littlefield, page proof [2019] and | Includes may not bibliographical be d references and index. Identifiers:Excerpted LCCN 2018053986pages for advance(print) | LCCN review 2018058007 purposes (ebook) only. | AllISBN rights reserved. 9781538101469This is (electronic) | ISBN 9781538101452 | ISBN 9781538101452 (cloth : alk. paper) Subjects: LCSH: Black Arts movement—Encyclopedias. Classification: LCC NX512.3.A35 (ebook) | LCC NX512.3.A35 M58 2019 (print) | DDC 700.89/96073—dc23 LC record available at https://lccn.loc.gov/2018053986 The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. -
American Book Awards 2004
BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre. -
Anthologies of African American Women's Writing And
Reading Democracy: Anthologies of African American Women’s Writing and the Legacy of Black Feminist Criticism, 1970-1990 by Aisha Peay Department of English Duke University Date: __________________ Approved: ______________________________ Priscilla Wald, Chair ______________________________ Thomas J. Ferraro ______________________________ Ranjana Khanna ______________________________ Kathy Psomiades Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2009 ABSTRACT Reading Democracy: Anthologies of African American Women’s Writing and the Legacy of Black Feminist Criticism, 1970-1990 by Aisha Peay Department of English Duke University Date: __________________ Approved: ______________________________ Priscilla Wald, Chair ______________________________ Thomas J. Ferraro ______________________________ Ranjana Khanna ______________________________ Kathy Psomiades An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2009 Copyright by Aisha Peay 2009 ABSTRACT Taking as its pretext the contemporary moment of self-reflexive critique on the part of interdisciplinary programs like Women’s Studies and American Studies, Reading Democracy historicizes a black feminist literary critical practice and movement that developed alongside black feminist activism beginning in the 1970s. This dissertation -
Black Theatre Movement PREPRINT
PREPRINT - Olga Barrios, The Black Theatre Movement in the United States and in South Africa . Valencia: Universitat de València, 2008. 2008 1 To all African people and African descendants and their cultures for having brought enlightenment and inspiration into my life 3 CONTENTS Pág. ACKNOWLEDGEMENTS …………………………………………………………… 6 INTRODUCTION …………………………………………………………………….. 9 CHAPTER I From the 1950s through the 1980s: A Socio-Political and Historical Account of the United States/South Africa and the Black Theatre Movement…………………. 15 CHAPTER II The Black Theatre Movement: Aesthetics of Self-Affirmation ………………………. 47 CHAPTER III The Black Theatre Movement in the United States. Black Aesthetics: Amiri Baraka, Ed Bullins, and Douglas Turner Ward ………………………………. 73 CHAPTER IV The Black Theatre Movement in the United States. Black Women’s Aesthetics: Lorraine Hansberry, Adrienne Kennedy, and Ntozake Shange …………………….. 109 CHAPTER V The Black Theatre Movement in South Africa. Black Consciousness Aesthetics: Matsemala Manaka, Maishe Maponya, Percy Mtwa, Mbongeni Ngema and Barney Simon …………………………………... 144 CHAPTER VI The Black Theatre Movement in South Africa. Black South African Women’s Voices: Fatima Dike, Gcina Mhlophe and Other Voices ………………………………………. 173 CONCLUSION ………………………………………………………………………… 193 BIBLIOGRAPHY ……………………………………………………………………… 199 APPENDIX I …………………………………………………………………………… 221 APPENDIX II ………………………………………………………………………….. 225 5 ACKNOWLEDGEMENTS Writing this book has been an immeasurable reward, in spite of the hard and critical moments found throughout its completion. The process of this culmination commenced in 1984 when I arrived in the United States to pursue a Masters Degree in African American Studies for which I wish to thank very sincerely the Fulbright Fellowships Committee. I wish to acknowledge the Phi Beta Kappa Award Selection Committee, whose contribution greatly helped solve my financial adversity in the completion of my work. -
The Women of August Wilson and a Performance Study and Analysis of the Role of Grace in Wilson's the Piano Lesson
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2009 The Women Of August Wilson And A Performance Study And Analysis Of The Role Of Grace In Wilson's The Piano Lesson Ingrid Marable University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Marable, Ingrid, "The Women Of August Wilson And A Performance Study And Analysis Of The Role Of Grace In Wilson's The Piano Lesson" (2009). Electronic Theses and Dissertations, 2004-2019. 4150. https://stars.library.ucf.edu/etd/4150 THE WOMEN OF AUGUST WILSON AND A PERFORMANCE STUDY AND ANALYSIS OF THE ROLE OF GRACE IN WILSON’S THE PIANO LESSON by INGRID A. MARABLE B.A. University of Virginia, 2005 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer 2009 © 2009 Ingrid A. Marable ii ABSTRACT In the fall of 2007, I was cast in the University of Central Florida’s production of The Piano Lesson. My thesis will examine my performance in the role of Grace, as well as understudying the role of Berniece under the direction of Professor Belinda Boyd. -
A Return to 1987: Glenda Dickerson's Black Feminist Intervention” by Khalid Y
The Journal of American Drama and Theatre (JADT) https://jadtjournal.org A Return to 1987: Glenda Dickerson’s Black Feminist Intervention by Khalid Y. Long The Journal of American Drama and Theatre Volume 33, Number 2 (Spring 2021) ISNN 2376-4236 ©2021 by Martin E. Segal Theatre Center Glenda Dickerson (1945-2012) is often recognized as a pioneering Black woman theatre director.[1] A more expansive view of her career, however, would highlight Dickerson’s important role as a playwright, an adaptor/deviser, a teacher, and as this essay will illustrate, a progenitor of feminist theatre and performance theory. This essay offers a brief rumination on how Dickerson made a Black feminist intervention into feminist theatre and performance theory as she became one of the earliest voices to intercede and ensure that Black women had a seat at the table.[2] Glenda Dickerson’s intervention into feminist theatre and performance theory appears in her critical writings. Accordingly, these essays illustrate her engagement with Black feminist thought and elucidate how she modeled a feminist theatre theory through her creative works. Dickerson, along with other pioneering feminist theatre artists, “reshaped the modern dramatic/theatrical canon, and signaled its difference from mainstream (male) theatre.”[3] Dickerson’s select body of essays prompted white feminist theorists and practitioners to be cognizant of race and class as well as gender in their work and scholarship.[4] Moreover, Dickerson’s writings serve a dual function for readers: first, they offer an entryway into her life and creative process as a Black feminist artist. Secondly, they detail her subjective experiences as a Black woman within the professional worlds of theatre and academia. -
Ahern Dissertation Final
Affect in Epistemology: Relationality and Feminist Agency in Critical Discourse, Neuroscience, and Novels by Bambara, Morrison, and Silko by Megan Keady Ahern A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English and Women’s Studies) in The University of Michigan 2012 Doctoral Committee: Professor Michael Awkward, Chair Associate Professor Tiya Miles Associate Professor Joshua L. Miller Assistant Professor Sari M. van Anders Professor Priscilla Wald, Duke University © Megan Keady Ahern 2012 The contribution that follows is greatly indebted to the groundbreaking work of Toni Cade Bambara, Barbara Christian, and Eve Kosofsky Sedgwick – brilliant, visionary women whom cancer took from us far too soon. Their work has such instructive and inspirational force still, so much potential still to unpack, so much theoretical and cultural work still to do. In the hope of in some small way carrying forward their legacy, this dissertation is dedicated to them. ii Acknowledgements Throughout the course of this project I have been spoiled with a truly extraordinary dissertation committee. The chapters that follow would not have been possible without my marvelous chair, Michael Awkward, who combines a persistent dedication to incisive feminist literary criticism, an openness to new interdisciplinary approaches, and the patience and humor necessary to see a project as unlikely as this one through. Tiya Miles has continually astonished and inspired me with her brilliant, endlessly thoughtful and kind guidance, and taught me the meaning of “constructive criticism” through her uniquely wonderful dedication to patient, contemplative readings that coax the greatest possible power and meaning from a work, and from it build toward new insights. -
Introduction
Notes Introduction 1. Thomas C. Holt, African- American History (Washington, DC: American His- torical Association, 1997), 1. 2. Gunnar Myrdal as quoted by Ralph Ellison, “An American Dilemma: A Review,” in Shadow and Act (New York: Vintage Books, 1972), 315. 3. Ibid., 317. 4. Ibid. 5. See James Joyce, Portrait of the Artist (London: Wordsworth Classics, 1992), 253. 6. Ellison, “American Dilemma,” 316. 7. Holt, African- American History, 2. 8. Ellison, “Some Questions and Some Answers,” in Shadow and Act (New York: Vintage Books, 1972), 263. 9. Elizabeth Clark-Lewis, Living In, Living Out: African American Domestics and the Great Migration (New York: Kodansha, 1995), 4. 10. Ibid., viii. 11. Ibid., 198. 12. Ibid., 23. 13. Ibid., 178. 14. Ibid. 15. Holt, African- American History, 2 16. Deborah E. McDowell, “The Changing Same”: Black Women’s Literature, Criti- cism and Theory (Bloomington: Indiana University Press, 1995), 21. 17. Claudia Tate, ed. Black Women Writers at Work (New York: Continuum, 1983), 105. 18. Houston A. Baker Jr., The Journey Back: Issues in Black Literature and Criticism (Chicago: University of Chicago Press, 1980), 53. 19. Maryemma Graham and Deborah Whaley, “Introduction: The Most Famous Person Nobody Knows,” in Fields Watered with Blood: Critical Essays on Mar- garet Walker, ed. Maryemma Graham (Athens: University of Georgia Press, 2001), 1. 180 NOTES 20. Ashraf H. A. Rushdy, “Neo- Slave Narrative,” in The Oxford Companion to Afri- can American Literature, ed. William L. Andrews et al. (New York: Oxford Uni- versity Press, 1997), 534. 21. Joyce Pettis, “Margaret Walker: Black Woman Writer of the South,” in South- ern Women Writers: The New Generation, ed. -
Aoise Stratford Received a Bachelor of Arts Degree with Honors from the University of New
STILL HAUNTING THE CASTLE: FEMINIST AND POSTCOLONIAL GOTHIC THEATRE AT THE END OF THE TWENTIETH CENTURY A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the DeGree of Doctor of Philosophy by Aoise A. Stratford February 2016 © 2016 Aoise A. Stratford STILL HAUNTING THE CASTLE: FEMINIST AND POSTCOLONIAL GOTHIC THEATRE AT THE END OF THE TWENTIETH CENTURY Aoise A. Stratford, Ph.D. Cornell University 2016 Abstract: Despite the fact that Gothic drama dominated London and American staGes around the turn of the nineteenth century, Gothic is a critically disparaGed term rarely used in contemporary theatre scholarship. This project seeks to reclaim the term in the context of certain twentieth-century plays by women that can be said to belong to a genealogy of contemporary feminist theatre. These plays use Gothic themes, imaGes, and conventions to challenGe dominant patriarchal ideologies in the postcolonial cultures of England, Australia, Canada, and the USA. The playwriGhts primarily studied in this regard are Beatrix Christian, Judith Thompson, Connie Gault, Alma De Groen, Caryl Churchill, Suzan-Lori Parks, Liz Lochhead, Adrienne Kennedy, Sarah Kane, and The Five Lesbian Brothers. AnalyzinG this significant body of work, I arGue for the presence of a Gothic mode across a range of plays that are variously consciously Gothic (in that they take known Gothic texts as intertexts), evocatively Gothic (in that they present an accumulation of tropes, imaGes and conventions recoGnizable from earlier Gothic novels and examined in extant Gothic scholarship), or that use the Gothic as a siGnificant dramaturGical strateGy that interrupts and (re)frames the play’s narrative and meaninG. -
Klassendiskurse in Den Romanen Meridel Le Sueurs, Nella Larsens Und Dorothy Wests
Klassendiskurse in den Romanen Meridel Le Sueurs, Nella Larsens und Dorothy Wests Dissertation zur Erlangung des akademischen Grades Doktor der Philosophie Doctor philosophiae (Dr. phil.) genehmigt durch die Fakultät für Geistes-, Sozial- und Erziehungswissenschaften der Otto-von-Guericke-Universität Magdeburg von Katharina Bunzmann, M.A. geb. am 26. April 1973 in Selb Gutachter: Prof. Dr. Bernd-Peter Lange Gutachter: Prof. Dr. Dieter Meindl Eingereicht am: 19. Mai 2004 Verteidigung der Dissertation am: 17. November 2004 2 Danksagung Mein herzlicher Dank geht an Prof. Dr. Bernd-Peter Lange und Prof. Dr. Dieter Meindl für ihre Geduld und ihre konstruktiven Anmerkungen. Darüber hinaus danke ich allen Familien- mitgliedern und Freunden, die mich über die Jahre hinweg unterstützt haben. 3 Inhaltsverzeichnis 1 EINLEITUNG: KLASSE ALS SPEKTRALES KONGLOMERAT AUS RACE, GENDER UND SEXUALITÄT 5 1.1 Geschichte und Literaturgeschichte 7 1.2 Zum soziologischen Verständnis von Klasse unter besonderer Berücksichtigung der USA 14 1.3 Klasse und gender 20 1.4 Klasse und race 25 1.5 Klasse im Übergang von Literaturwissenschaft zu Cultural Studies 31 1.6 Prämissen der Arbeit 35 2 KLASSE UND GENDER IN MERIDEL LE SUEURS THE GIRL 39 2.1 Biographie 39 2.2 Le Sueur und die Kommunistische Partei 41 2.2.1 Regionalismus versus Internationalismus 42 2.2.2 Klasse versus gender 42 2.2.3 Proletarian literature und working-class fiction 43 2.2.3.1 Die Frage der Authentizität 44 2.2.3.2 Literarische Qualitätskriterien und Stil 46 2.2.3.3 Von proletarian literature zu -
The Cambridge Companion to African American Women's Literature
Cambridge University Press 978-0-521-85888-5 - The Cambridge Companion to African American Women’s Literature Edited by Angelyn Mitchell and Danille K. Taylor Frontmatter More information the cambridge companion to african american women’s literature The Cambridge Companion to African American Women’s Literature covers a period dating back to the eighteenth century. These specially commissioned essays highlight the artistry, complexity and diversity of a literary tradition that ranges from Lucy Terry to Toni Morrison. A wide range of topics are addressed, from the Harlem Renaissance to the Black Arts movement, and from the perform- ing arts to popular fiction. Together, the essays provide an invaluable guide to a rich, complex tradition of women writers in conversation with each other as they critique American society and influence American letters. Accessible and vibrant, with the needs of undergraduate students in mind, this Companion will be of great interest to anybody who wishes to gain a deeper understanding of this important and vital area of American literature. angelyn mitchell is Associate Professor of English and African American Studies, Georgetown University. danille k. taylor is Dean of Humanities, Dillard University. A complete list of books in the series is at the back of this book © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85888-5 - The Cambridge Companion to African American Women’s Literature Edited by Angelyn Mitchell and Danille K. Taylor Frontmatter More information THE CAMBRIDGE COMPANION TO AFRICAN AMERICAN WOMEN’S LITERATURE EDITED BY ANGELYN MITCHELL Georgetown University, Washington, DC AND DANILLE K.