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These two raucously acclaimed new plays by Dael Orlandersmith, whom The New York Times has called "an otherworldly messenger, perhaps the sorcerer's apprentice, or a heaven-sent angel with the devil in her," confirm her reputation as one of the truly unique voices in contemporary American drama. In Yellowman, a finalist for the 2002 Pulitzer Prize in Drama, Alma and Eugene have known each other since they were young children. As their friendship blossoms into love, Alma struggles to free herself from her mother's poverty and alcoholism, while Eugene must contend with the legacy of being "yellow"—lighter-skinned than his brutal and unforgiving father. In My Red Hand, My Black Hand, a young woman explores her heritage as the child of a blues-loving Native American man and a black sharecropper's daughter from Virginia. Alternately joyous and harrowing, both plays are powerful examinations of the racial tensions that fracture communities and individual lives.
This book is a part of the Prominent Singaporeans series, which features individuals from Singapore's history who have contributed significantly to her growth. Lee Wen loved art, music, poetry and performance with a passion. He presented all art forms in his own unique way, even when others didn’t care for it. And boy are we glad he did! An inspiring story of how Lee Wen became the great performance artist that he was.
White Man/Yellow Man, by one of Japan's most celebrated writers, gathers into one volume two novellas set during World War II one in France, one in Japan.
In American Indian societies, storytelling and speech-making are invested with special significance, crafted to reveal central psychological and social values, tensions, and ambi-guities. As Karl Kroeber notes, "It is our scholarship, not Indian storytelling, that is primitive, undeveloped." ø This book is an essential introduction to the study and appreciation of American Indian oral literatures. The essays, by leading scholars, illuminate the subtle artistry of form and content that gives spoken stories and myths an enduring vitality in native communities yet often makes them perplexing to outsiders. The presentation and analysis of complete oral texts, often without translations, enable the reader to grasp the meaning, purpose, and structure of the tales and to become familiar with the techniques scholars use to translate and interpret them. ø This expanded edition of the widely praised collection contains a recent analysis of the Wintu myth of female sexuality, a revised introduction by Karl Kroeber, a contribution by Dell Hymes, a new translation by Dennis Tedlock, and a new, annotated bibliography.
Processual archaeologists seek to explain variability in the static archaeological record we observe in the present as a necessary first step toward learning how to learn about the operation of cultural dynamics in the past. The approach is a diverse and productive one that focuses on developing learning strategies. Researchers pursuing processual archaeology have already discovered a great deal about the archaeological record and about past dynamics, and there is a huge potential for building on the foundation laid thus far. The contributors to this volume provide clearly written research articles that are easily accessible to upper-level undergraduates and professional archaeologists. Although the papers do not focus on a single region, time period, or domain of observation (e.g. settlement patterns or lithics or site structure), they are integrated by shared goals for archaeology. This book clearly demonstrates that processual archaeology, far from having been replaced by post-processual archaeology, is becoming more and more powerful as our analytic sophistication and knowledge of the archaeological record grow.
"The American Pipe Dream examines the representational history of addiction on the U.S. stage from 1890 to the start of the nation's involvement in the second World War in 1941. Through intensive archival work, textual and performance analysis, and by considering related literary, legislative, and medical histories, this work argues that performance was essential in the creation of the drug addict in the U.S. cultural imagination. Though little attention has been paid to the figure of the stage-addict, this conventionalized figure was a major presence in U.S. popular entertainment through the Progressive Era into the Roaring Twenties, and through the Great Depression. The aim of this study is to trace this complex history, establish the stage-addict's place in U.S. theatre studies, and, by doing so, provide a new lens for examining the history of drug addiction and drug use in the U.S"--
Jamaican music can be roughly divided into four eras, each with a distinctive beat - ska, rocksteady, reggae and dancehall. Ska dates from about 1960 to mid-1966, rocksteady from 1966 to 1968, while from 1969 to 1983 reggae was the popular beat. The reggae era had two phases, 'early reggae' up to 1974 and 'roots reggae' up to 1983. Since 1983 dancehall has been the prevalent sound. The authors describe each stage in the development of the music, identifying the most popular songs and artists, highlighting the significant social, political and economic issues as they affected the musical scene. While they write from a Jamaican perspective, the intended audience is 'any person, local or foreign, interested in an intelligent discussion of reggae music and Jamaica.'.