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Author:
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ISBN:
Category :
Languages : en
Pages : 160
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Book Description
EBONY is the flagship magazine of Johnson Publishing. Founded in 1945 by John H. Johnson, it still maintains the highest global circulation of any African American-focused magazine.
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 160
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Book Description
EBONY is the flagship magazine of Johnson Publishing. Founded in 1945 by John H. Johnson, it still maintains the highest global circulation of any African American-focused magazine.
Author: Ed Bullins
Publisher:
ISBN:
Category : American drama
Languages : en
Pages : 304
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Book Description
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 64
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Book Description
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
Author: Leslie Catherine Sanders
Publisher: LSU Press
ISBN: 9780807115824
Category : Drama
Languages : en
Pages : 272
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Book Description
In The Development of Black Theater in America, Leslie Sanders examines the work of the American black theater’s five most productive playwrights: Willis Richardson, Randolph Edmonds, Langston Hughes, LeRoi Jones, and Ed Bullins. Sanders sees the history of black theater as the process of creating a “black stage reality” while at the same time transforming conventions borrowed from white European culture into forms appropriate to black artists and audiences. The author argues that only when these things were accomplished could the aim of black playwrights, often articulated as “the realistic portrayal of the Negro,” be fully realized. This study also examines the changing nature of the dialogue black playwrights have held with the dominant tradition and how that dialogue has shaped their imaginations. Sanders’ discussion of Richardson, Edmonds, Hughes, Jones, and Bullins provides a context for approaching the work of other black playwrights, such as James Baldwin, Lorraine Hansberry, and Owen Dodson. And her argument provides a concrete way of understanding how the context of a dominant culture influences the artistic imagination of writers not of that culture, who must come to terms with its influences and transform it into a vehicle of their own.
Author: Randall Kennedy
Publisher: Pantheon
ISBN: 0593316525
Category : Social Science
Languages : en
Pages : 257
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The twentieth anniversary edition of one of the most controversial books ever published on race and language is now more relevant than ever in this season of racial reckoning—from “one of our most important and perceptive writers on race" (The Washington Post). In addition to a brave and bracing inquiry into the origins, uses, and impact of the infamous word, this edition features an extensive new introduction that addresses major developments in its evolution during the last two decades of its vexed history. In the new introduction to his classic work, Kennedy questions the claim that “nigger” is the most tabooed term in the American language, faced with the implacable prevalence of its old-fashioned anti-Black sense. “Nigger” continues to be part of the loud soundtrack of the worst instances of racial aggression in American life—racially motivated assaults and murders, arson, intentional infliction of emotional distress, and workplace harassment. Consider this: twenty years ago, Kennedy wrote that any major politician credibly accused of using “nigger” would be immediately abandoned and ostracized. He was wrong. Donald Trump, former POTUS himself, was credibly charged, and the allegation caused little more than a yawn. No one doubted the accuracy of the claim but amidst all his other racist acts his “nigger-baiting” no longer seemed shocking. “Nigger” is still very much alive and all too widely accepted. On the other hand, Kennedy is concerned to address the many episodes in which people have been punished for quoting, enunciating, or saying “nigger” in circumstances that should have made it clear that the speakers were doing nothing wrong—or at least nothing sufficiently wrong to merit the extent of the denunciation they suffered. He discusses, for example, the inquisition of Bill Maher (and his pathetic apology) and the (white) teachers who have been disciplined for reading out loud texts that contain “nigger.” He argues that in assessing these controversies, we ought to be more careful about the use/mention distinction: menacingly calling someone a “nigger” is wholly different than quoting a sentence from a text by James Baldwin or Toni Morrison or Flannery O’Connor or Mark Twain. Kennedy argues against the proposition that different rules should apply depending upon the race of the speaker of “nigger,” offering stunningly commonsensical reasons for abjuring the erection of such boundaries. He concludes by venturing a forecast about the likely status of “nigger” in American culture during the next twenty years when we will see the clear ascendance of a so-called “minority majority” body politic—which term itself is redolent of white supremacy.
Author: Sanford Sternlicht
Publisher: Syracuse University Press
ISBN: 9780815629399
Category : Literary Criticism
Languages : en
Pages : 276
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Book Description
Sanford Sternlicht presents a comprehensive survey of modern American drama beginning with its antecedents in Victorian melodrama through the present. He discusses the work and achievement of more than seventy playwrights, from Eugene O’Neill to Suzan-Lori Parks—from the golden era of Broadway to the rise of Off-Broadway and regional theater. Stern-licht shows how world theater influenced the American stage, and how the views of American dramatists reflected the great American social movements of their times. In addition, he describes the contributions of early experimental theater, the Federal Theater of the 1930s, African American, feminist, and gay and lesbian drama—and the joyous trends and triumphs of American musical theater.
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 160
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Book Description
EBONY is the flagship magazine of Johnson Publishing. Founded in 1945 by John H. Johnson, it still maintains the highest global circulation of any African American-focused magazine.
Author: William L. Van Deburg
Publisher: University of Chicago Press
ISBN: 022610981X
Category : Social Science
Languages : en
Pages : 299
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Book Description
Martin Luther King Jr. Malcolm X. Muhammad Ali. When you think of African American history, you think of its heroes—individuals endowed with courage and strength who are celebrated for their bold exploits and nobility of purpose. But what of black villains? Villains, just as much as heroes, have helped define the black experience. Ranging from black slaveholders and frontier outlaws to serial killers and gangsta rappers, Hoodlums examines the pivotal role of black villains in American society and popular culture. Here, William L. Van Deburg offers the most extensive treatment to date of the black badman and the challenges that this figure has posed for race relations in America. He first explores the evolution of this problematic racial stereotype in the literature of the early Republic—documents in which the enslavement of African Americans was justified through exegetical claims. Van Deburg then probes antebellum slave laws, minstrel shows, and the works of proslavery polemicists to consider how whites conceptualized blacks as members of an inferior and dangerous race. Turning to key works by blacks themselves, from the writings of Frederick Douglass and W. E. B. Du Bois to classic blaxploitation films like Black Caesar and The Mack, Van Deburg demonstrates how African Americans have combated such negative stereotypes and reconceptualized the idea of the badman through stories of social bandits—controversial individuals vilified by whites for their proclivity toward evil, but revered in the black community as necessarily insurgent and revolutionary. Ultimately, Van Deburg brings his story up-to-date with discussions of prison and hip-hop culture, urban rioting, gang warfare, and black-on-black crime. What results is a work of remarkable virtuosity—a nuanced history that calls for both whites and blacks to rethink received wisdom on the nature and prevalence of black villainy.
Author: Olga Barrios
Publisher: Universitat de València
ISBN: 8437070228
Category : Comics & Graphic Novels
Languages : en
Pages : 245
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Book Description
El creixement dels moviments sociopolítics entre els anys seixanta i noranta als Estats Units i a Sud-àfrica va establir els ferms fonaments sobre els quals, amb una força i ímpetu sense precedents, es va forjar el teatre negre d?aquests anys. Forma i contingut van sorgir a l?una del compromís polític i artístic adoptat per aquests artistes contra l?imperialisme, el colonialisme i el racisme occidentals. Per primera vegada en la història, el teatre negre dels Estats Units i de Sud-àfrica analitzava i valorava les arrels negres per a poder il·luminar la recerca d?un futur de llibertat. No obstant això, el context sociopolític i les circumstàncies específiques de cada país han generat igualment els trets distintius del teatre afronord-americà i negre sud-africà (incloses les diferències de gènere) manifestos en ramificacions artístiques totalment heterogènies i úniques.
Author: Pamela Faith Jackson
Publisher: Hal Leonard Corporation
ISBN: 9781557832788
Category : Drama
Languages : en
Pages : 516
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Book Description
(Applause Books). This first-of-its kind collection includes a wide range of works, from an early examination and critique of American society after World War II to plays that reflect socio-political concerns that kept pace with historical events, like the sit-in demonstrations, the bus boycotts, black nationalism, and the women's liberation movement. A hybrid of comedic forms including satire, farce, comedy of manners, romantic comedy, dark comedy, and tragicomedy are presented through vernacular language, stand-up performance art, masks, broad humor, as well as the minstrel show. Essays, articles and interviews complement this critical edition.
