Maley patrick (40 résultats)
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Paperback. Etat : Very Good. No Jacket. Former library book; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.
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Paperback. Etat : Very Good. Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE PAPERBACK Standard-sized.
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Paperback. Etat : Very Good+. Text clean and tight; 8vo 8" - 9" tall; 250 pages.
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Paperback. Etat : New. 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 argues that Wilson was not a dramatist importing blues music i…nto 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.
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EUR 35,46
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Hardcover. Etat : Very Good. No Jacket. 1st Edition. Charlottesville: University of Virginia Press, 2019. First Printing. Hardcover, bound in paper-covered boards. No dust jacket. 250 pages, including bibliography and index. Condition: Very Good, with no marks or writing to book. Corners are nudged; otherwise Fine.
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Hardcover. Etat : Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Standard-sized.
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Vendeur : Revaluation Books, Exeter, Royaume-UniRevaluation Books
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Paperback. Etat : Brand New. 235 pages. 9.00x6.00x0.75 inches. In Stock.
Langue : anglais
Edité par CreateSpace Independent Publishing Platform, 2018
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Etat : New. In English.
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Paperback. Etat : New. 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 argues that Wilson was not a dramatist importing blues music i…nto 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.
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Vendeur : Revaluation Books, Exeter, Royaume-UniRevaluation Books
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Hardcover. Etat : Brand New. 235 pages. 9.25x6.25x0.75 inches. In Stock.
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Etat : Hervorragend. Zustand: Hervorragend | 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… argues 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.
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Etat : 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 argues…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.
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Etat : 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 argues…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.
Langue : anglais
Edité par Createspace Independent Publishing Platform, 2018
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Etat : New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. Über den AutorPatrick Maley is Associate Professor of English at Centenary University.KlappentextrnrnCritics have long suggested that August Wilson, who called blues the best literature we have as black A.
