Brief Notices
- Brief Notices
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This volume begins with a list of illustrations (7–8), acknowledgments (9–12), and an introduction by Coppélia Kahn and Heather S. Nathans (13–32). The primary text includes essays in four parts. Part 1, “Educating Citizens,” includes: Jennifer Mylander, “Instruction and English Refinement in America: Shakespeare, Antitheatricality, and Early Modern Reading (33–53); Heather S. Nathans, “ ‘A course of learning and ingenious studies’: Shakespearean Education and Theater in Antebellum America” (54–70); Sandra M. Gustafson, “Eloquent Shakespeare” (71–94). Part 2, “Moral and Practical Educations,” includes: Jonathan Burton, “Lay on, McGuffery: Excerpting Shakespeare in Nineteenth-Century Schoolbooks” (95–111); Nan Johnson, “Shakespeare in American Rhetorical Education, 1870–1920” (112–30). Part 3, “Ivy-Covered Shakespeare,” includes: Elizabeth Renker, “Shakespeare in the College Curriculum, 1870–1920” (131–56); Denise Albanese, “Canons before Canons: College Entrance Requirements and the Making of a National-Educational Shakespeare” (157–74); Dayton Haskin, “The Works of Wm Shakespeare as They Have Been Sundry Times Professed in Harvard College” (175–200); Coppélia Kahn, “Poet of America: Charles Mills Gayley’s Anglo-Saxon Shakespeare” (201–18). Part 4, “Back to the Future,” includes: Marvin McAllister, “Shakespeare Visits the Hilltop: Classical Drama and the Howard College Dramatic Club” (219–46); Rosemary Kegl, “Outdistancing the Past: Shakespeare and American Education at the 1934 Chicago World’s Fair” (247–75). The text concludes with an afterword by Theodore Leinwand (276–88), a bibliography (289–306), notes on contributors (307–10), and an index (311–27).
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This volume begins with an introduction by the editors (1–12) and contains essays in four parts. Part 1, “Black Aesthetics as Theory, Art, and Ideology,” includes: Mikell Pinkney, “The Development of African American Dramatic Theory: W. E. B. DuBois to August Wilson—Hand to Hand!” (15–40); Tracey L. Walters, “Rita Dove’s Mother Love: Revising the Black Aesthetic through the [End Page 307] Lens of Western Discourse” (41–52); Georgene Bess Montgomery, “The Ifa Paradigm: Reading the Spirit in Tina McElroy Ansa’s Baby of the Family” (53–66); John Valery White, “Just ’Cause (or Just Cause): On August Wilson’s Case for a Black Theater” (67–82). Part 2, “Black Aesthetics and Interdisciplinary Black Arts,” includes: Harry J. Elam, Jr., “ ‘Keeping it Real’: August Wilson and Hip-Hop” (85–100); Dorothea Fischer-Hornung, “Giving Voice and Vent to African American Culture: Katherine Dunham’s Struggle for Cultural Ownership in Mambo (1954)” (101–18); Sybil J. Roberts, “The Mumia Project: Theater Activism at Howard University” (119–30). Part 3, “August Wilson’s Plays and Black Aesthetic,” includes: Reggie Young, “Phantom Limbs Dancing Juba Rites in August Wilson’s Joe Turner’s Come and Gone and The Piano Lesson” (133–48); Tara T. Green, “Speaking of Voice and August Wilson’s Women” (149–62); C. Patrick Tyndall, “Using Black Rage to Elucidate African and African American Identity in August Wilson’s Joe Turner’s Come and Gone (1911)” (163–78). Part 4, “Current, Unpublished Interviews that Speak to Aesthetic Issues Raised in ‘The Ground on which I Stand,’ ” includes: Yolanda Williams Page, “The Ground on which He Stands: Charles S. Dutton on August Wilson” (181–90); Sandra G. Shannon and Dana A. Williams, “A Conversation with August Wilson” (191–200). The text concludes with an appendix, Sybil J. Roberts, “A Liberating Prayer: A Lovesong for Mumia” (201–26), and an afterword, Sandra G. Shannon, “August Wilson and Black Aesthetics” (227–29).
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This volume begins with a foreward (vii–viii), a preface (ix–x), acknowledgments (xi), and an introduction (1–10). The primary text includes essays in three parts. Part 1, “Film,” includes: Heather Addison, “ ‘That Younger, Fresher Woman’: Old Wives for New (1918) and Hollywood’s Cult...
