Sylvia Bailey Shurbutt (ed.)
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9780813181127
- eISBN:
- 9780813181257
- Item type:
- book
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813181127.001.0001
- Subject:
- Literature, Criticism/Theory
Bestselling author, journalist, playwright, and activist Silas House has focused nearly all of his work on Appalachia. His acclaimed and diverse body of work includes the novels Clay's Quilt, A ...
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Bestselling author, journalist, playwright, and activist Silas House has focused nearly all of his work on Appalachia. His acclaimed and diverse body of work includes the novels Clay's Quilt, A Parchment of Leaves, The Coal Tattoo, Eli the Good, and Southernmost. Well known for its lyrical style, diverse and sympathetic characters, and political engagement, House's work is overdue for deeper critical study. In this groundbreaking book, editor and coauthor Sylvia Bailey Shurbutt brings together established and rising scholars to discuss House and his writings through a critical lens. Various chapters address different aspects of House's fiction and nonfiction, including the ways in which he deconstructs regional stereotypes, how he explores issues of diversity, his environmental activism, and his approach to LGBTQ issues. The collection begins with a foreword by Denise Giardina and concludes with a chapter by celebrated poet Maurice Manning exploring the lyricism that distinguishes House's work. Featuring an interview with House that further illuminates his philosophy and art, this timely volume offers an important critical appraisal of his oeuvre to date and illustrates why he is one of the most significant voices in Appalachian and American literature today.Less
Bestselling author, journalist, playwright, and activist Silas House has focused nearly all of his work on Appalachia. His acclaimed and diverse body of work includes the novels Clay's Quilt, A Parchment of Leaves, The Coal Tattoo, Eli the Good, and Southernmost. Well known for its lyrical style, diverse and sympathetic characters, and political engagement, House's work is overdue for deeper critical study. In this groundbreaking book, editor and coauthor Sylvia Bailey Shurbutt brings together established and rising scholars to discuss House and his writings through a critical lens. Various chapters address different aspects of House's fiction and nonfiction, including the ways in which he deconstructs regional stereotypes, how he explores issues of diversity, his environmental activism, and his approach to LGBTQ issues. The collection begins with a foreword by Denise Giardina and concludes with a chapter by celebrated poet Maurice Manning exploring the lyricism that distinguishes House's work. Featuring an interview with House that further illuminates his philosophy and art, this timely volume offers an important critical appraisal of his oeuvre to date and illustrates why he is one of the most significant voices in Appalachian and American literature today.
Huw Griffiths
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781474448703
- eISBN:
- 9781474490863
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474448703.001.0001
- Subject:
- Literature, Shakespeare Studies
This book provides a sustained, formalist and theoretically-informed reading of the multiple body parts that litter the dialogue and action of Shakespeare’s history plays, including Henry V, Richard ...
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This book provides a sustained, formalist and theoretically-informed reading of the multiple body parts that litter the dialogue and action of Shakespeare’s history plays, including Henry V, Richard II, Richard III, King John, and the Henry IV plays. Starting with a literary critical analysis of these dislocated bodies, the book follows Shakespeare’s own relentless pursuit of a specific political question: how does human flesh, blood, and bone relate to sovereignty? Shakespeare’s treatment of the body is also read against two other bodies of work: early modern political writing, and twentieth- and twenty first-century critical theory. Like Shakespeare’s histories, these develop understandings of sovereign power through considerations of the body: from Jean Bodin’s inalienable sovereignty, located in the body of the monarch, through Hobbes’ mechanistic Leviathan, to Kantorowicz’s “two bodies” and Derrida’s “prosthstatics” in which forms of sovereign power are imagined as machine- or animal-like. Along the way, particular body parts – knees, hands, heads, and throats – come to the fore as particular objects of interest.Less
This book provides a sustained, formalist and theoretically-informed reading of the multiple body parts that litter the dialogue and action of Shakespeare’s history plays, including Henry V, Richard II, Richard III, King John, and the Henry IV plays. Starting with a literary critical analysis of these dislocated bodies, the book follows Shakespeare’s own relentless pursuit of a specific political question: how does human flesh, blood, and bone relate to sovereignty? Shakespeare’s treatment of the body is also read against two other bodies of work: early modern political writing, and twentieth- and twenty first-century critical theory. Like Shakespeare’s histories, these develop understandings of sovereign power through considerations of the body: from Jean Bodin’s inalienable sovereignty, located in the body of the monarch, through Hobbes’ mechanistic Leviathan, to Kantorowicz’s “two bodies” and Derrida’s “prosthstatics” in which forms of sovereign power are imagined as machine- or animal-like. Along the way, particular body parts – knees, hands, heads, and throats – come to the fore as particular objects of interest.
Jason Jacobs
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198742340
- eISBN:
- 9780191695018
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198742340.003.0003
- Subject:
- Literature, Film, Media, and Cultural Studies
Television drama in the late 1940s seemed to have a continuing uncertainty about the themes, form, and style it was taking. This brings to fore the ways in which the television service during this ...
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Television drama in the late 1940s seemed to have a continuing uncertainty about the themes, form, and style it was taking. This brings to fore the ways in which the television service during this period was reddening itself with a prominent aid from television drama. Even though the post-war period saw an increase in the amount of drama on screen, repeat telecast of the plays was still considerable more reliable. The fact that mystery-murder and ‘horror’ productions were preferred during the post-war period along with drama with wartime themes, is exemplified by the late 1940s drama schedules of producing plays of the Gothic, supernatural, or thriller genres, generically known by television management as ‘Horror Plays’. The reopening of post-war service saw technical and stylistic changes such as those regarding camera movements, along with changes in programme content and scheduling.Less
Television drama in the late 1940s seemed to have a continuing uncertainty about the themes, form, and style it was taking. This brings to fore the ways in which the television service during this period was reddening itself with a prominent aid from television drama. Even though the post-war period saw an increase in the amount of drama on screen, repeat telecast of the plays was still considerable more reliable. The fact that mystery-murder and ‘horror’ productions were preferred during the post-war period along with drama with wartime themes, is exemplified by the late 1940s drama schedules of producing plays of the Gothic, supernatural, or thriller genres, generically known by television management as ‘Horror Plays’. The reopening of post-war service saw technical and stylistic changes such as those regarding camera movements, along with changes in programme content and scheduling.
Michael Dobson
- Published in print:
- 1994
- Published Online:
- October 2011
- ISBN:
- 9780198183235
- eISBN:
- 9780191673979
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198183235.003.0004
- Subject:
- Literature, Shakespeare Studies, Poetry
This chapter focuses on the years 1688–1735, showing how adaptation and canonization become ever more mutual processes at this time, as biographers and panegyrists of Shakespeare attempt to construct ...
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This chapter focuses on the years 1688–1735, showing how adaptation and canonization become ever more mutual processes at this time, as biographers and panegyrists of Shakespeare attempt to construct an author worthy of the Complete Plays, and adaptors — and indeed editors — attempt in their turn to make the plays worthy of their author.Less
This chapter focuses on the years 1688–1735, showing how adaptation and canonization become ever more mutual processes at this time, as biographers and panegyrists of Shakespeare attempt to construct an author worthy of the Complete Plays, and adaptors — and indeed editors — attempt in their turn to make the plays worthy of their author.
Valerie Wayne
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199641819
- eISBN:
- 9780191749025
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199641819.003.0011
- Subject:
- Literature, 16th-century and Renaissance Literature, Shakespeare Studies
Based upon evidence that English dramatists were aware of the popularity of Don Quixote as early as 1607 and had some access to it before Shelton’s translation was published in 1612, this chapter ...
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Based upon evidence that English dramatists were aware of the popularity of Don Quixote as early as 1607 and had some access to it before Shelton’s translation was published in 1612, this chapter proposes that the turn to romance by Shakespeare and his collaborators between 1608 and 1613 was influenced by Cervantes’s work. An English embassy travelled to Spain to sign peace articles in 1605 only four months after Quixote was published there, and early allusions to Quixote appear in plays by Wilkins, Middleton, and Jonson. Cervantes’s novel may have provided some of the metatextual strategies that are evident in Shakespeare’s late plays beginning with Pericles, for each one puts a figure associated with its source on stage or otherwise grants heightened attention to texts in ways analogous to Quixote’s citation of chivalric romances and the creation of its own metatext.Less
Based upon evidence that English dramatists were aware of the popularity of Don Quixote as early as 1607 and had some access to it before Shelton’s translation was published in 1612, this chapter proposes that the turn to romance by Shakespeare and his collaborators between 1608 and 1613 was influenced by Cervantes’s work. An English embassy travelled to Spain to sign peace articles in 1605 only four months after Quixote was published there, and early allusions to Quixote appear in plays by Wilkins, Middleton, and Jonson. Cervantes’s novel may have provided some of the metatextual strategies that are evident in Shakespeare’s late plays beginning with Pericles, for each one puts a figure associated with its source on stage or otherwise grants heightened attention to texts in ways analogous to Quixote’s citation of chivalric romances and the creation of its own metatext.
Rhona Brown
- Published in print:
- 2021
- Published Online:
- May 2022
- ISBN:
- 9781474457149
- eISBN:
- 9781474495806
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474457149.003.0008
- Subject:
- Literature, European Literature
This chapter analyses three twentieth-century plays with Robert Burns as a protagonist – H. Fletcher Lee’s Robert Burns: A Play in Three Acts (1926), Robert Kemp’s The Other Dear Charmer (1951) and ...
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This chapter analyses three twentieth-century plays with Robert Burns as a protagonist – H. Fletcher Lee’s Robert Burns: A Play in Three Acts (1926), Robert Kemp’s The Other Dear Charmer (1951) and Tom Wright’s There was a Man (1965) – and focuses on their representation not only of Burns’s biography, but of his literary corpus. In these performances, Burns’s life is inseparable from his poems and songs: his literary output is portrayed as a direct reflection of the circumstances and events of his life and, in particular, his relationships with women. This chapter argues that the plays’ conflation of the poet’s life and works functions as a metafictional dramatic device which unites the performers and the audience through shared knowledge, and offers meaningful insights into the evolution of Burns’s reception and reputation as an ‘authentic’ Scots bard throughout the twentieth centuryLess
This chapter analyses three twentieth-century plays with Robert Burns as a protagonist – H. Fletcher Lee’s Robert Burns: A Play in Three Acts (1926), Robert Kemp’s The Other Dear Charmer (1951) and Tom Wright’s There was a Man (1965) – and focuses on their representation not only of Burns’s biography, but of his literary corpus. In these performances, Burns’s life is inseparable from his poems and songs: his literary output is portrayed as a direct reflection of the circumstances and events of his life and, in particular, his relationships with women. This chapter argues that the plays’ conflation of the poet’s life and works functions as a metafictional dramatic device which unites the performers and the audience through shared knowledge, and offers meaningful insights into the evolution of Burns’s reception and reputation as an ‘authentic’ Scots bard throughout the twentieth century
Jennifer Larson
- Published in print:
- 2014
- Published Online:
- May 2017
- ISBN:
- 9781617039973
- eISBN:
- 9781626740280
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617039973.003.0014
- Subject:
- Society and Culture, Media Studies
This chapter explores the plays of George C. Wolfe, whose work reclaims and reopens the literary and cultural past, and Suzan-Lori Parks, whose work furthers this project. Both playwrights take as ...
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This chapter explores the plays of George C. Wolfe, whose work reclaims and reopens the literary and cultural past, and Suzan-Lori Parks, whose work furthers this project. Both playwrights take as the subjects of their satire the well-worn narratives and even revered texts of the African American canon, and present common stereotypes in order to highlight the racialized past. In so doing, these plays highlight the contradictions of black identity, and ask their audiences to embrace these contradictionsLess
This chapter explores the plays of George C. Wolfe, whose work reclaims and reopens the literary and cultural past, and Suzan-Lori Parks, whose work furthers this project. Both playwrights take as the subjects of their satire the well-worn narratives and even revered texts of the African American canon, and present common stereotypes in order to highlight the racialized past. In so doing, these plays highlight the contradictions of black identity, and ask their audiences to embrace these contradictions
Aimee Zygmonski
- Published in print:
- 2014
- Published Online:
- May 2017
- ISBN:
- 9781617039973
- eISBN:
- 9781626740280
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617039973.003.0015
- Subject:
- Society and Culture, Media Studies
This chapter argues that Lynn Nottage employs the trickster figure in her plays to destabilize African American stereotypes. In her plays Fabulation and By the Way, Meet Very Stark, Nottage also ...
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This chapter argues that Lynn Nottage employs the trickster figure in her plays to destabilize African American stereotypes. In her plays Fabulation and By the Way, Meet Very Stark, Nottage also provides metacommentary in order to directly provoke the audience. Ultimately, these plays point to a future that rejects these stereotypes.Less
This chapter argues that Lynn Nottage employs the trickster figure in her plays to destabilize African American stereotypes. In her plays Fabulation and By the Way, Meet Very Stark, Nottage also provides metacommentary in order to directly provoke the audience. Ultimately, these plays point to a future that rejects these stereotypes.
Edward William Lane and Jason Thompson
- Published in print:
- 2012
- Published Online:
- May 2015
- ISBN:
- 9789774165603
- eISBN:
- 9781617975516
- Item type:
- chapter
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774165603.003.0020
- Subject:
- Society and Culture, Middle Eastern Studies
This chapter opens with derwishes who made a living by charming snakes out of houses, and then moves on to the “Howah,” who performed tricks in the street for voluntary contributions—for example, ...
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This chapter opens with derwishes who made a living by charming snakes out of houses, and then moves on to the “Howah,” who performed tricks in the street for voluntary contributions—for example, sleight-of-hand and magic tricks using snakes, knives, and fire breathing. It also looks at fortune telling, done by women who were mostly gipsies, ropedancers and tightrope walkers, who were also gipsies. Finally, this chapter describes the “Kureydatee,” who performed with monkeys, dogs, goats; the ‘farce-players,’ were male actors who performed (often vulgar) comical plays; and puppet-shows done in Turkish.Less
This chapter opens with derwishes who made a living by charming snakes out of houses, and then moves on to the “Howah,” who performed tricks in the street for voluntary contributions—for example, sleight-of-hand and magic tricks using snakes, knives, and fire breathing. It also looks at fortune telling, done by women who were mostly gipsies, ropedancers and tightrope walkers, who were also gipsies. Finally, this chapter describes the “Kureydatee,” who performed with monkeys, dogs, goats; the ‘farce-players,’ were male actors who performed (often vulgar) comical plays; and puppet-shows done in Turkish.
Tomoe Kumojima
- Published in print:
- 2022
- Published Online:
- December 2021
- ISBN:
- 9780198871439
- eISBN:
- 9780191914317
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198871439.003.0005
- Subject:
- Literature, 19th-century and Victorian Literature, World Literature
Chapter 4 investigates Marie Stopes’s interracial, cross-gender relationships with Fujii Kenjirō and Sakurai Jōji through her three published Japanese-related works—A Journal from Japan (1910), ...
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Chapter 4 investigates Marie Stopes’s interracial, cross-gender relationships with Fujii Kenjirō and Sakurai Jōji through her three published Japanese-related works—A Journal from Japan (1910), Love-Letters of a Japanese (1911), and Plays of Old Japan: The ‘Nō’ (1913)—along with her unpublished transcripts and correspondence. It unveils an unconventional, stormy romance, a warm friendship, and literary collaboration. It considers the gender and racial complexities Stopes textually negotiated for the sake of her love and friendship against the rigid imperial ideology and the Victorian notion of femininity, which produced a distinct representation of humanized Japan as Britain’s masculine ally with feminine sensibility. It also discusses particular challenges Western women in a cross-racial relationship faced in Victorian Britain and Meiji Japan. The close examination of this underexplored phase of Stopes’s career reveals the incipience of her sexology and complicates the posthumous, more controversial aspect of her as eugenicist.Less
Chapter 4 investigates Marie Stopes’s interracial, cross-gender relationships with Fujii Kenjirō and Sakurai Jōji through her three published Japanese-related works—A Journal from Japan (1910), Love-Letters of a Japanese (1911), and Plays of Old Japan: The ‘Nō’ (1913)—along with her unpublished transcripts and correspondence. It unveils an unconventional, stormy romance, a warm friendship, and literary collaboration. It considers the gender and racial complexities Stopes textually negotiated for the sake of her love and friendship against the rigid imperial ideology and the Victorian notion of femininity, which produced a distinct representation of humanized Japan as Britain’s masculine ally with feminine sensibility. It also discusses particular challenges Western women in a cross-racial relationship faced in Victorian Britain and Meiji Japan. The close examination of this underexplored phase of Stopes’s career reveals the incipience of her sexology and complicates the posthumous, more controversial aspect of her as eugenicist.
Iván Villarmea Álvarez
- Published in print:
- 2015
- Published Online:
- November 2015
- ISBN:
- 9780231174534
- eISBN:
- 9780231850780
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231174534.003.0010
- Subject:
- Film, Television and Radio, Film
This chapter analyses the metafilmic strategies of two titles focused on the way Hollywood has historically represented the city of Los Angeles. The first, Pat O'Neill's The Decay of Fiction (2002), ...
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This chapter analyses the metafilmic strategies of two titles focused on the way Hollywood has historically represented the city of Los Angeles. The first, Pat O'Neill's The Decay of Fiction (2002), is an avant-garde work that documents the last days of a symbolic place, the Ambassador Hotel, by means of a series of fictional reenactments inspired by film noir. The second, Thom Andersen's Los Angeles Plays Itself (2003), is a metafilm essay composed of more than two hundred excerpts from other films that reflects on mainstream cinema's politics of representation. Both works explore the commonplaces of what Rafael Pizarro has termed “the Hollywood Urban Imaginarium”, challenging its visual monopoly from the margins of film industry. The outcome of these two experiments is an ambiguous celebration of the cinematic city that cleverly warns against its systematic tendency towards fakeness and oblivion.Less
This chapter analyses the metafilmic strategies of two titles focused on the way Hollywood has historically represented the city of Los Angeles. The first, Pat O'Neill's The Decay of Fiction (2002), is an avant-garde work that documents the last days of a symbolic place, the Ambassador Hotel, by means of a series of fictional reenactments inspired by film noir. The second, Thom Andersen's Los Angeles Plays Itself (2003), is a metafilm essay composed of more than two hundred excerpts from other films that reflects on mainstream cinema's politics of representation. Both works explore the commonplaces of what Rafael Pizarro has termed “the Hollywood Urban Imaginarium”, challenging its visual monopoly from the margins of film industry. The outcome of these two experiments is an ambiguous celebration of the cinematic city that cleverly warns against its systematic tendency towards fakeness and oblivion.
Michael Ra-Shon Hall
- Published in print:
- 2022
- Published Online:
- May 2022
- ISBN:
- 9781949979701
- eISBN:
- 9781800852969
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781949979701.003.0006
- Subject:
- Literature, African-American Literature
The fifth chapter discusses a play by Calvin A. Ramsey inspired by archival research on The Green Book and Jim Crow-era travel: The Green Book: A Play (2006). Ramsey’s two-act play portrays this ...
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The fifth chapter discusses a play by Calvin A. Ramsey inspired by archival research on The Green Book and Jim Crow-era travel: The Green Book: A Play (2006). Ramsey’s two-act play portrays this moment in US history when The Green Book served as a safeguard for African American travelers. Presenting the narratives of a traveling Green Book salesman, a weary Jewish traveler, and a soldier and his wife, who converge on a tourist home in Jefferson City, Missouri, I argue that Ramsey’s play, alongside Andrea Lee’s short musical “The Golden Chariot” (2002), leverages the critical potential of racial binary to heighten focus on the ways that guidebooks came to bear on critical decisions folks made in their travels. Ramsey’s and Lee’s handling of their material throws into relief the disappointment many African American viewers and critics feel at what many see as a missed opportunity with the Academy Award and Golden Globe Award-winning feature film Green Book (2018), directed by Peter Farrelly and starring Mahershala Ali.Less
The fifth chapter discusses a play by Calvin A. Ramsey inspired by archival research on The Green Book and Jim Crow-era travel: The Green Book: A Play (2006). Ramsey’s two-act play portrays this moment in US history when The Green Book served as a safeguard for African American travelers. Presenting the narratives of a traveling Green Book salesman, a weary Jewish traveler, and a soldier and his wife, who converge on a tourist home in Jefferson City, Missouri, I argue that Ramsey’s play, alongside Andrea Lee’s short musical “The Golden Chariot” (2002), leverages the critical potential of racial binary to heighten focus on the ways that guidebooks came to bear on critical decisions folks made in their travels. Ramsey’s and Lee’s handling of their material throws into relief the disappointment many African American viewers and critics feel at what many see as a missed opportunity with the Academy Award and Golden Globe Award-winning feature film Green Book (2018), directed by Peter Farrelly and starring Mahershala Ali.
Nelson Barre
- Published in print:
- 2021
- Published Online:
- May 2022
- ISBN:
- 9781800859470
- eISBN:
- 9781800852617
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781800859470.003.0004
- Subject:
- Literature, Drama
Gina Moxley’s Danti-Dan (1995) depicts a world where children grow up too fast and yet do not understand the implications of their actions. The female characters in the play depict a range of ...
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Gina Moxley’s Danti-Dan (1995) depicts a world where children grow up too fast and yet do not understand the implications of their actions. The female characters in the play depict a range of emotional and sexual agencies that sometimes run counter to the expected narratives of 1970s Ireland. I argue that Moxley’s play revises and complicates old tropes about sexuality among Ireland’s youth. Her use of characters ranging from thirteen to eighteen, all of whom have incorrect and incomplete knowledge of sex, demonstrates some of the ways in which young women try to take back agency in an otherwise patriarchal society. Consideration of the original production and its socio-political context provides avenues of critical examination, as does relating the play to the #WakingTheFeminists movement which erupted some twenty years after its premiere.Less
Gina Moxley’s Danti-Dan (1995) depicts a world where children grow up too fast and yet do not understand the implications of their actions. The female characters in the play depict a range of emotional and sexual agencies that sometimes run counter to the expected narratives of 1970s Ireland. I argue that Moxley’s play revises and complicates old tropes about sexuality among Ireland’s youth. Her use of characters ranging from thirteen to eighteen, all of whom have incorrect and incomplete knowledge of sex, demonstrates some of the ways in which young women try to take back agency in an otherwise patriarchal society. Consideration of the original production and its socio-political context provides avenues of critical examination, as does relating the play to the #WakingTheFeminists movement which erupted some twenty years after its premiere.
Brian Ó Conchubhair
- Published in print:
- 2021
- Published Online:
- May 2022
- ISBN:
- 9781800859470
- eISBN:
- 9781800852617
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781800859470.003.0018
- Subject:
- Literature, Drama
The Irish monologue play (in English) arguably reached its apex in the 1990s and Noughties. Yet this still-popular form is strangely absent in the Irish-language theatrical tradition. This absence is ...
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The Irish monologue play (in English) arguably reached its apex in the 1990s and Noughties. Yet this still-popular form is strangely absent in the Irish-language theatrical tradition. This absence is all the more striking given the role attributed to the Irish oral tradition that seems to haunt the English-language monologue form in Ireland. As in much of her other creative work – dramatic, musical, and poetic – Celia de Fréine is in this regard a ground-breaker and paradigm shifter. Her 2016 Irish-language monologue Luíse focuses on Luíse Ghabhánach Ní Dhufaigh who established Scoil Bhríde, Ireland’s first Irish-language immersion school in Dublin. The play explores the life, times, and socio-political views of this remarkable woman in a way that captures her energy, vision, and independence of mind. This chapter demonstrates that the monologue form is the ideal one for this topic but also offers a potentially rich tool for Irish-language theatre.Less
The Irish monologue play (in English) arguably reached its apex in the 1990s and Noughties. Yet this still-popular form is strangely absent in the Irish-language theatrical tradition. This absence is all the more striking given the role attributed to the Irish oral tradition that seems to haunt the English-language monologue form in Ireland. As in much of her other creative work – dramatic, musical, and poetic – Celia de Fréine is in this regard a ground-breaker and paradigm shifter. Her 2016 Irish-language monologue Luíse focuses on Luíse Ghabhánach Ní Dhufaigh who established Scoil Bhríde, Ireland’s first Irish-language immersion school in Dublin. The play explores the life, times, and socio-political views of this remarkable woman in a way that captures her energy, vision, and independence of mind. This chapter demonstrates that the monologue form is the ideal one for this topic but also offers a potentially rich tool for Irish-language theatre.
Megan W. Minogue
- Published in print:
- 2021
- Published Online:
- May 2022
- ISBN:
- 9781800859463
- eISBN:
- 9781800852600
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781800859463.003.0021
- Subject:
- Literature, Drama
In Anne Devlin’s 1984 television play The Long March, political and historical narratives frame the lives of two families – the Walshes and the Molloys – who live in predominantly republican areas of ...
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In Anne Devlin’s 1984 television play The Long March, political and historical narratives frame the lives of two families – the Walshes and the Molloys – who live in predominantly republican areas of West Belfast. While the individual characters in these families have lived through many similar experiences and events, the march forward for the next generation is often gendered, with some avenues being more open to or acceptable for men rather than women. And, as Devlin highlights, the male experience of the Troubles is often deemed more “legitimate” than the female. In the end, however, Devlin’s play demonstrates the sombre inevitability of a long march ahead for all characters: a lack of any comfortable resolution, both dramatically and in the political landscape, ensures that Devlin leaves her audience with an unsettling sense that both men and women have not come very far from where they started.Less
In Anne Devlin’s 1984 television play The Long March, political and historical narratives frame the lives of two families – the Walshes and the Molloys – who live in predominantly republican areas of West Belfast. While the individual characters in these families have lived through many similar experiences and events, the march forward for the next generation is often gendered, with some avenues being more open to or acceptable for men rather than women. And, as Devlin highlights, the male experience of the Troubles is often deemed more “legitimate” than the female. In the end, however, Devlin’s play demonstrates the sombre inevitability of a long march ahead for all characters: a lack of any comfortable resolution, both dramatically and in the political landscape, ensures that Devlin leaves her audience with an unsettling sense that both men and women have not come very far from where they started.
Eleanor Johnson
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9780226572031
- eISBN:
- 9780226572208
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226572208.003.0005
- Subject:
- Literature, Early and Medieval Literature
This chapter studies the participatory contemplation that is staged in the N-Town cycle’s Mary plays to show how these plays both resonate with and complicate the theological environment of East ...
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This chapter studies the participatory contemplation that is staged in the N-Town cycle’s Mary plays to show how these plays both resonate with and complicate the theological environment of East Anglia, where they are most likely written. Through a combination of poetic, sonic, and linguistic effects--ranging from acrostics and alliteration to code-switching and vernacular puns--the Mary sequence builds on the incarnational theology of the likes of Nicholas Love and invites its audiences to experience their own likeness to and kinship with Virgin Mary. They do so in a manner that is not simply affective--not simply about the creation of empathy with Mary herself--but also and in fact primarily cognitive, originally in a deeply intellectual understanding of how Mary, a time-bound human being, could possibly contain the eternal Jesus within her body, and bring him into the world of time, history, and death. In the Mary plays, as in the other contemplative works in this book, the Middle English vernacular is crucial to the participatory enactment of contemplation, and to its enactment of how contemplation intersects with the social world.Less
This chapter studies the participatory contemplation that is staged in the N-Town cycle’s Mary plays to show how these plays both resonate with and complicate the theological environment of East Anglia, where they are most likely written. Through a combination of poetic, sonic, and linguistic effects--ranging from acrostics and alliteration to code-switching and vernacular puns--the Mary sequence builds on the incarnational theology of the likes of Nicholas Love and invites its audiences to experience their own likeness to and kinship with Virgin Mary. They do so in a manner that is not simply affective--not simply about the creation of empathy with Mary herself--but also and in fact primarily cognitive, originally in a deeply intellectual understanding of how Mary, a time-bound human being, could possibly contain the eternal Jesus within her body, and bring him into the world of time, history, and death. In the Mary plays, as in the other contemplative works in this book, the Middle English vernacular is crucial to the participatory enactment of contemplation, and to its enactment of how contemplation intersects with the social world.
Alex Goody
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780748647316
- eISBN:
- 9780748684380
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748647316.003.0009
- Subject:
- Literature, 20th-century Literature and Modernism
In, ‘“Indeed everybody did come”: Parties, Publicity and Intimacy in Gertrude Stein’s Plays’, Alex Goody finds that the conduciveness to creativity of the public/private space of the party is ...
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In, ‘“Indeed everybody did come”: Parties, Publicity and Intimacy in Gertrude Stein’s Plays’, Alex Goody finds that the conduciveness to creativity of the public/private space of the party is ambiguous when the creativity in question is that of the host. As Goody recounts, Gertrude Stein’s publishing success with The Autobiography of Alice B. Toklas (1933) precipitated ‘a disturbing invasion of her inner sense of self’ in which her private interiority was ‘opened out to the external world’s values and definitions’. But this tension between publicity and private autonomy had already emerged as Stein and Toklas admitted the expatriate avant-garde to their domestic space at their parties in rue de Fleurus. Both parties and book success exposed Stein’s private life to a publicity that threatened the sense of linguistic singularity with which she was investing her writing. This threat is textually mapped out in the plays Stein wrote about parties at the beginning and end of her career: What Happened. A Play in Five Acts (1913) and A Play Called Not And Now (1936).Less
In, ‘“Indeed everybody did come”: Parties, Publicity and Intimacy in Gertrude Stein’s Plays’, Alex Goody finds that the conduciveness to creativity of the public/private space of the party is ambiguous when the creativity in question is that of the host. As Goody recounts, Gertrude Stein’s publishing success with The Autobiography of Alice B. Toklas (1933) precipitated ‘a disturbing invasion of her inner sense of self’ in which her private interiority was ‘opened out to the external world’s values and definitions’. But this tension between publicity and private autonomy had already emerged as Stein and Toklas admitted the expatriate avant-garde to their domestic space at their parties in rue de Fleurus. Both parties and book success exposed Stein’s private life to a publicity that threatened the sense of linguistic singularity with which she was investing her writing. This threat is textually mapped out in the plays Stein wrote about parties at the beginning and end of her career: What Happened. A Play in Five Acts (1913) and A Play Called Not And Now (1936).
Lisa Nanney
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781942954873
- eISBN:
- 9781789629781
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781942954873.003.0002
- Subject:
- Literature, American, 20th Century Literature
By the time he served in World War I, Dos Passos was well-versed in classical and contemporary visual art and a practiced painter. The war revealed to him how organizations and forces—such as ...
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By the time he served in World War I, Dos Passos was well-versed in classical and contemporary visual art and a practiced painter. The war revealed to him how organizations and forces—such as governments, corporations, the press, and the military—could subvert individual self-determination, so he brought his visual aesthetics to bear on his early writing to seek artistic methods that could combine non-verbal aesthetics with political ideas, could transcend current literary forms, and could move readers to engaged interaction and activism. Like his early anti-war novels One Man’s Initiation: 1917 (1920) and Three Soldiers (1921), his experimental plays and set designing with the New Playwrights Theatre group, which he co-founded in New York in the mid-1920s, responded to the expanded aesthetic potentials of modernism. His early dramas, such as The Garbage Man (1927), reflect his increasing awareness that the theater had to create an innovative, immersive experience to compete as a cultural and political force with film, which was rapidly assuming unparalleled power as public entertainment both in the U.S. and Russia.Less
By the time he served in World War I, Dos Passos was well-versed in classical and contemporary visual art and a practiced painter. The war revealed to him how organizations and forces—such as governments, corporations, the press, and the military—could subvert individual self-determination, so he brought his visual aesthetics to bear on his early writing to seek artistic methods that could combine non-verbal aesthetics with political ideas, could transcend current literary forms, and could move readers to engaged interaction and activism. Like his early anti-war novels One Man’s Initiation: 1917 (1920) and Three Soldiers (1921), his experimental plays and set designing with the New Playwrights Theatre group, which he co-founded in New York in the mid-1920s, responded to the expanded aesthetic potentials of modernism. His early dramas, such as The Garbage Man (1927), reflect his increasing awareness that the theater had to create an innovative, immersive experience to compete as a cultural and political force with film, which was rapidly assuming unparalleled power as public entertainment both in the U.S. and Russia.
- Published in print:
- 2007
- Published Online:
- June 2013
- ISBN:
- 9781846311017
- eISBN:
- 9781846313684
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846313684.005
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter presents a list of plays, novels, short stories, and non–fiction written by Jack Kahane. These include Two Plays published by Sherratt and Hughes, Laugh and Grow Rich published by Grant ...
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This chapter presents a list of plays, novels, short stories, and non–fiction written by Jack Kahane. These include Two Plays published by Sherratt and Hughes, Laugh and Grow Rich published by Grant Richards Ltd., and The Vain Serenade published by Constable and Co. Ltd. This chapter provides information on the publication dates, title page, collation, pagination, binding, and cover image of these works by Kahane.Less
This chapter presents a list of plays, novels, short stories, and non–fiction written by Jack Kahane. These include Two Plays published by Sherratt and Hughes, Laugh and Grow Rich published by Grant Richards Ltd., and The Vain Serenade published by Constable and Co. Ltd. This chapter provides information on the publication dates, title page, collation, pagination, binding, and cover image of these works by Kahane.
Richard Wendorf
- Published in print:
- 2022
- Published Online:
- April 2022
- ISBN:
- 9780192898135
- eISBN:
- 9780191924583
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780192898135.003.0006
- Subject:
- Literature, 18th-century Literature
This chapter begins the process of explaining why changes in typographical conventions took place in the second half of the eighteenth century. Dozens of writers produced rules or suggestions about ...
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This chapter begins the process of explaining why changes in typographical conventions took place in the second half of the eighteenth century. Dozens of writers produced rules or suggestions about how capitalization and italics should be used—and they are discussed in full. These include grammars, rhetorics, encyclopedias, and printing manuals. These are generally conservative in nature and lag behind actual printing practice at the time. Was there also a transformation in the nature of the reading public at this time? There are many signs that although reading aloud continued in a variety of ways and places (social reading), silent reading was also prevalent; there was also a movement from intensive to extensive reading habits. Samuel Johnson and Benjamin Franklin are key sources in tracing these changes, as are the key exponents of the elocutionary movement. Did individual writers change their own practice of writing as well? An extended analysis of the private correspondence of major writers demonstrates that many did abandon the capital later in their careers. This is also borne out in the correspondence of the 10th Earl of Huntingdon, which includes letters from dozens of different writers, and in the Larpent Collection of Dramatic Plays at the Huntington Library, which includes scribal copies of plays submitted to the Examiner of Plays.Less
This chapter begins the process of explaining why changes in typographical conventions took place in the second half of the eighteenth century. Dozens of writers produced rules or suggestions about how capitalization and italics should be used—and they are discussed in full. These include grammars, rhetorics, encyclopedias, and printing manuals. These are generally conservative in nature and lag behind actual printing practice at the time. Was there also a transformation in the nature of the reading public at this time? There are many signs that although reading aloud continued in a variety of ways and places (social reading), silent reading was also prevalent; there was also a movement from intensive to extensive reading habits. Samuel Johnson and Benjamin Franklin are key sources in tracing these changes, as are the key exponents of the elocutionary movement. Did individual writers change their own practice of writing as well? An extended analysis of the private correspondence of major writers demonstrates that many did abandon the capital later in their careers. This is also borne out in the correspondence of the 10th Earl of Huntingdon, which includes letters from dozens of different writers, and in the Larpent Collection of Dramatic Plays at the Huntington Library, which includes scribal copies of plays submitted to the Examiner of Plays.