9780813942995 - after august: blues, august wilson, and american drama von maley, patrick (5 Ergebnisse)
- Hardcover
Anbieter: PBShop.store UK, Fairford, GLOS, Vereinigtes KönigreichPBShop.store UK
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Neu
EUR 56,27
EUR 5,87 VersandVersand von Vereinigtes Königreich nach USAAnzahl: 1 verfügbar
HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.
- Hardcover
Anbieter: Ria Christie Collections, Uxbridge, Vereinigtes KönigreichRia Christie Collections
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Neu
EUR 70,85
EUR 14,00 VersandVersand von Vereinigtes Königreich nach USAAnzahl: Mehr als 20 verfügbar
Zustand: New. In English.
- Hardcover
Anbieter: Kennys Bookstore, Olney, MD, USAKennys Bookstore
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Neu
EUR 101,91
EUR 9,06 VersandVersand innerhalb von USAAnzahl: 1 verfügbar
Zustand: New. 2019. hardcover. . . . . . Books ship from the US and Ireland.
- Hardcover
Anbieter: Revaluation Books, Exeter, Vereinigtes KönigreichRevaluation Books
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Neu
EUR 108,21
EUR 14,60 VersandVersand von Vereinigtes Königreich nach USAAnzahl: 2 verfügbar
Hardcover. Zustand: Brand New. 235 pages. 9.25x6.25x0.75 inches. In Stock.
- Hardcover
Anbieter: Buchpark, Trebbin, DeutschlandBuchpark
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Gebraucht - Sehr gut
EUR 58,87
EUR 105,00 VersandVersand von Deutschland nach USAAnzahl: 1 verfügbar
Zustand: Sehr gut. Zustand: Sehr gut | Sprache: Englisch | Produktart: Bücher | Critics have long suggested that August Wilson, who called blues "the best literature we have as black Americans," appropriated blues music for his plays. After August insists instead that Wilson's work is direct blues expression. Patrick Maley argue…s that Wilson was not a dramatist importing blues music into his plays; he was a bluesman, expressing a blues ethos through drama. Reading Wilson's American Century Cycle alongside the cultural history of blues music, as well as Wilson's less discussed work--his interviews, the polemic speech "The Ground on Which I Stand," and his memoir play How I Learned What I Learned--Maley shows how Wilson's plays deploy the blues technique of call-and-response, attempting to initiate a dialogue with his audience about how to be black in America. After August further contends that understanding Wilson as a bluesman demands a reinvestigation of his forebears and successors in American drama, many of whom echo his deep investment in social identity crafting. Wilson's dramaturgical pursuit of culturally sustainable black identity sheds light on Tennessee Williams's exploration of oppressive limits on masculine sexuality and Eugene O'Neill's treatment of psychologically corrosive whiteness. Today, the contemporary African American playwrights Katori Hall and Tarell Alvin McCraney repeat and revise Wilson's methods, exploring the fraught and fertile terrain of racial, gender, and sexual identity. After August makes a significant contribution to the scholarship on Wilson and his undeniable impact on American drama.
