Kitchen Sink Realisms: Domestic Labor, Dining, and Drama in American Theatre (Paperback)

Dorothy Chansky

Edité par University of Iowa Press, 2015
ISBN 10: 1609383753 / ISBN 13: 9781609383756
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Language: English . Brand New Book. From 1918 s Tickless Time through Waiting for Lefty, Death of a Salesman,A Streetcar Named Desire, A Raisin in the Sun, and The Prisoner ofSecond Avenue to 2005 s The Clean House, domestic labor has figuredlargely on American stages. No dramatic genre has done morethan the one often dismissively dubbed kitchen sink realism to both support and contest the idea that the home is naturallywomen s sphere. But there is more to the genre than even its supporterssuggest. In analyzing kitchen sink realisms, Dorothy Chansky revealsthe ways that food preparation, domestic labor, dining, serving,entertaining, and cleanup saturate the lives of dramatic charactersand situations even when they do not take center stage. Offeringresistant readings that rely on close attention to the particular culturaland semiotic environments in which plays and their audiencesoperated, she sheds compelling light on the changing debatesabout women s roles and the importance of their household laboracross lines of class and race in the twentieth century. The story begins just after World War I, as more households wereelectrified and fewer middleclass housewives could afford to hiremaids. In the 1920s, popular mainstream plays staged the plightof women seeking escape from the daily grind; African Americanplaywrights, meanwhile, argued that housework was the least ofwomen s worries. Plays of the 1930s recognized housework aswork to a greater degree than ever before, while during the waryears domestic labor was predictably recruited to the war effort-sometimes with genderbending results. In the famously quiescentand anxious 1950s, critiques of domestic normalcy became common,and African American maids gained a complexity previouslyreserved for white leading ladies. These critiques proliferated withthe reemergence of feminism as a political movement from the1960s on. After the turn of the century, the problems and comfortsof domestic labor in black and white took center stage. In highlightingthese shifts, Chansky brings the real home. N° de réf. du libraire AAC9781609383756

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Titre : Kitchen Sink Realisms: Domestic Labor, ...
Éditeur : University of Iowa Press
Date d'édition : 2015
Reliure : Paperback
Etat du livre : New

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Dorothy Chansky
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Description du livre University Of Iowa Press. Paperback. État : VERY GOOD. Cover and pages show some wear from reading and storage. May have light creases on the cover and binding. Some pages may contain writing and or highlighting. N° de réf. du libraire 2715340076

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Description du livre University of Iowa Press. Paperback. État : new. BRAND NEW, Kitchen Sink Realisms: Domestic Labor, Dining, and Drama in American Theatre, Dorothy Chansky, Heather S. Nathans, From 1918's Tickless Time through Waiting for Lefty, Death of a Salesman,A Streetcar Named Desire, A Raisin in the Sun, and The Prisoner ofSecond Avenue to 2005's The Clean House, domestic labor has figuredlargely on American stages. No dramatic genre has done morethan the one often dismissively dubbed "kitchen sink realism" to both support and contest the idea that the home is naturallywomen's sphere. But there is more to the genre than even its supporterssuggest. In analyzing kitchen sink realisms, Dorothy Chansky revealsthe ways that food preparation, domestic labor, dining, serving,entertaining, and cleanup saturate the lives of dramatic charactersand situations even when they do not take center stage. Offeringresistant readings that rely on close attention to the particular culturaland semiotic environments in which plays and their audiencesoperated, she sheds compelling light on the changing debatesabout women's roles and the importance of their household laboracross lines of class and race in the twentieth century. The story begins just after World War I, as more households wereelectrified and fewer middleclass housewives could afford to hiremaids. In the 1920s, popular mainstream plays staged the plightof women seeking escape from the daily grind; African Americanplaywrights, meanwhile, argued that housework was the least ofwomen's worries. Plays of the 1930s recognized housework aswork to a greater degree than ever before, while during the waryears domestic labor was predictably recruited to the war effort--sometimes with genderbending results. In the famously quiescentand anxious 1950s, critiques of domestic normalcy became common,and African American maids gained a complexity previouslyreserved for white leading ladies. These critiques proliferated withthe reemergence of feminism as a political movement from the1960s on. After the turn of the century, the problems and comfortsof domestic labor in black and white took center stage. In highlightingthese shifts, Chansky brings the real home. N° de réf. du libraire B9781609383756

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Dorothy Chansky
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Description du livre University of Iowa Press, United States, 2015. Paperback. État : New. 229 x 152 mm. Language: English . Brand New Book. From 1918 s Tickless Time through Waiting for Lefty, Death of a Salesman,A Streetcar Named Desire, A Raisin in the Sun, and The Prisoner ofSecond Avenue to 2005 s The Clean House, domestic labor has figuredlargely on American stages. No dramatic genre has done morethan the one often dismissively dubbed kitchen sink realism to both support and contest the idea that the home is naturallywomen s sphere. But there is more to the genre than even its supporterssuggest. In analyzing kitchen sink realisms, Dorothy Chansky revealsthe ways that food preparation, domestic labor, dining, serving,entertaining, and cleanup saturate the lives of dramatic charactersand situations even when they do not take center stage. Offeringresistant readings that rely on close attention to the particular culturaland semiotic environments in which plays and their audiencesoperated, she sheds compelling light on the changing debatesabout women s roles and the importance of their household laboracross lines of class and race in the twentieth century. The story begins just after World War I, as more households wereelectrified and fewer middleclass housewives could afford to hiremaids. In the 1920s, popular mainstream plays staged the plightof women seeking escape from the daily grind; African Americanplaywrights, meanwhile, argued that housework was the least ofwomen s worries. Plays of the 1930s recognized housework aswork to a greater degree than ever before, while during the waryears domestic labor was predictably recruited to the war effort-sometimes with genderbending results. In the famously quiescentand anxious 1950s, critiques of domestic normalcy became common,and African American maids gained a complexity previouslyreserved for white leading ladies. These critiques proliferated withthe reemergence of feminism as a political movement from the1960s on. After the turn of the century, the problems and comfortsof domestic labor in black and white took center stage. In highlightingthese shifts, Chansky brings the real home. N° de réf. du libraire AAS9781609383756

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Dorothy Chansky
Edité par University of Iowa Press, United States (2015)
ISBN 10 : 1609383753 ISBN 13 : 9781609383756
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Description du livre University of Iowa Press, United States, 2015. Paperback. État : New. 229 x 152 mm. Language: English . Brand New Book. From 1918 s Tickless Time through Waiting for Lefty, Death of a Salesman,A Streetcar Named Desire, A Raisin in the Sun, and The Prisoner ofSecond Avenue to 2005 s The Clean House, domestic labor has figuredlargely on American stages. No dramatic genre has done morethan the one often dismissively dubbed kitchen sink realism to both support and contest the idea that the home is naturallywomen s sphere. But there is more to the genre than even its supporterssuggest. In analyzing kitchen sink realisms, Dorothy Chansky revealsthe ways that food preparation, domestic labor, dining, serving,entertaining, and cleanup saturate the lives of dramatic charactersand situations even when they do not take center stage. Offeringresistant readings that rely on close attention to the particular culturaland semiotic environments in which plays and their audiencesoperated, she sheds compelling light on the changing debatesabout women s roles and the importance of their household laboracross lines of class and race in the twentieth century. The story begins just after World War I, as more households wereelectrified and fewer middleclass housewives could afford to hiremaids. In the 1920s, popular mainstream plays staged the plightof women seeking escape from the daily grind; African Americanplaywrights, meanwhile, argued that housework was the least ofwomen s worries. Plays of the 1930s recognized housework aswork to a greater degree than ever before, while during the waryears domestic labor was predictably recruited to the war effort-sometimes with genderbending results. In the famously quiescentand anxious 1950s, critiques of domestic normalcy became common,and African American maids gained a complexity previouslyreserved for white leading ladies. These critiques proliferated withthe reemergence of feminism as a political movement from the1960s on. After the turn of the century, the problems and comfortsof domestic labor in black and white took center stage. In highlightingthese shifts, Chansky brings the real home. N° de réf. du libraire AAS9781609383756

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