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This book is open access and available on
www.bloomsburycollections.com. It is funded by Knowledge Unlatched.
Perfect for students of English Literature, Theatre Studies and
American Studies at college and university, The Theatre of
Tennessee Williams provides a lucid and stimulating analysis of
Willams' dramatic work by one of America's leading scholars. With
the centennial of his birth celebrated amid a flurry of conferences
devoted to his work in 2011, and his plays a central part of any
literature and drama curriculum and uibiquitous in theatre
repertoires, he remains a giant of twentieth century literature and
drama. In Brenda Murphy's major study of his work she examines his
life and career and provides an analysis of more than a score of
his key plays, including in-depth studies of major works such as A
Streetcar Named Desire, The Glass Menagerie, Cat on a Hot Tin Roof
and others. She traces the artist figure who features in many of
Williams' plays to broaden the discussion beyond the normal
reference points. As with other volumes in Methuen Drama's Critical
Companions series, this book features too essays by Bruce
McConachie, John S. Bak, Felicia Hardison Londre and Annette
Saddik, offering perspectives on different aspects of Williams'
work that will assist students in their own critical thinking.
This collection of social, cultural, and historical documents and
popular materials, with linking explanations and commentary, will
help the reader to study the play in the context of its time and
cultural background. The collected materials are designed to work
with the play to highlight inherent conflicts within American
society which lie at the heart of Death of a Salesman, and to
explore how the play affects and is affected by social mores and
beliefs. Salesmanship and the changing face of business, along with
perceptions of sports, gender, and families, are explored through
selections drawn from a rich variety of sources that help provide
forceful evidence of the play's influence. Documents include
essays, articles, and fiction, which have created or explored the
social expectations of a typical American family in the late 1940s;
unusual selections such as a self-analysis chart, an obituary, and
a diary, which help to trace the history of salesmanship from the
nineteenth century to the present day; and advertisements, song
lyrics, speeches, how-to books, and other readings that promote an
interdisciplinary study of the play. More than 70 short primary
documents illustrate the cultural, social and historical milieu of
the time in which the play takes place. Topics explored under
Cultural Myths and Values include the Protestant work ethic vs.
myths of success, the myth of the golden West vs. urban myth, and
the culture of youth vs. the culture of age. A chapter on economic
forces provides materials on business vs. morality, humanity vs.
technology, the haves and the have-nots, American business culture,
the Depression, and how to be an effective salesman. A chapter on
family andgender expectations includes documents on the roles of
fathers and mothers, providers vs. cowboys or playboys, and
homemakers vs. call girls. A chapter on sports and leisure features
documents on amateur football and sports and American values. A
final chapter examines the impact of Death of a Salesman on
American culture. Each chapter is followed by study questions,
topics for writing and discussion, and a list of suggested reading.
This work is an ideal companion for interdisciplinary study of the
play.
This is the first book-length study of the collaboration between Tennessee Williams and Elia Kazan. Their intense creative relationship, fuelLed by a deep personal affinity that endured until Williamss death, lasted from 1947 until 1960. The production of A Streetcar Named Desire established Williams as Americas greatest playwright and Kazan as its most important director; together they created some of the most influential theatrical events of the post-War era. In this book Brenda Murphy analyses this artistic partnership and the plays and theatrical techniques the artists developed collaboratively in their productions of A Streetcar Named Desire, Camino Real, Cat on a Hot Tin Roof, and Sweet Bird of Youth. In addition, Murphy suggests new ways to examine the working relationship between playwright and director which can be applied to other practitioners in twentieth-century drama. The book contains numerous illustrations from important productions.
While Guinness is a global product, it still contains references to
Ireland and it occupies a particular place in imaginings of
Irishness. Brewing Identities is unique in that, while it focuses
on the (re)production of a specific kind of ethno-national
identity- Irishness - it is simultaneously transnational in scope,
as the author maps the trails of products, people and symbolic
constructs through a globalised world. In pubs from Dublin to
London to New York, the reader is taken on a multi-sited
ethnography, where stories unfold through observation, interview,
and conversation with fellow patrons and pub personnel, while
drawing from an ample sampling of discursive and interactional
sources from which the author derives her own interpretations and
conclusions. Additionally, the book follows the trail of the
political economy of Guinness. Brewing Identities produces an
engaging and well-grounded mode of inquiry informed not only by
multiple sources but by the interdisciplinary field of cultural
studies, one that is particularly sensitive and responsive to both
the convergences and discontinuities of diverse conditioning
factors at work in the generally nebulous and complex sphere of
identity production.
While Guinness is a global product, it still contains references to
Ireland and it occupies a particular place in imaginings of
Irishness. Brewing Identities is unique in that, while it focuses
on the (re)production of a specific kind of ethno-national
identity- Irishness - it is simultaneously transnational in scope,
as the author maps the trails of products, people and symbolic
constructs through a globalised world. In pubs from Dublin to
London to New York, the reader is taken on a multi-sited
ethnography, where stories unfold through observation, interview,
and conversation with fellow patrons and pub personnel, while
drawing from an ample sampling of discursive and interactional
sources from which the author derives her own interpretations and
conclusions. Additionally, the book follows the trail of the
political economy of Guinness. Brewing Identities produces an
engaging and well-grounded mode of inquiry informed not only by
multiple sources but by the interdisciplinary field of cultural
studies, one that is particularly sensitive and responsive to both
the convergences and discontinuities of diverse conditioning
factors at work in the generally nebulous and complex sphere of
identity production.
The essays in this collection fill an important conceptual gap in
present-day criticism. New essays are presented on such diverse
writers as Eugene O'Neill, Susan Glaspell, Thornton Wilder, Arthur
Miller, Maurine Dallas Watkins, Sophie Treadwell, and Washington
Irving. The essayists offer equally diverse approaches to
intertextuality, such as the influence of the poetry of romanticism
and Shakespeare, histories and novels, ideological and political
discourses on American playwrights, unlikely connections between
such persons as Miller and Wilder, the problems of intertexts in
translation, the evolution in different historical contexts of the
same tale, and the relationships among feminism, the drama of the
courtroom, and the drama of the stage. Intertextuality has been an
under explored area in studies of dramatic and performance texts.
The innovative findings of these scholars testifies to the vitality
of research in American drama and performance.
The Provincetown Players was a major cultural institution in
Greenwich Village from 1916 to 1922, when American Modernism was
conceived and developed. This study considers the group's vital
role, and its wider significance in twentieth-century American
culture. Describing the varied and often contentious response to
modernity among the Players, Murphy reveals the central
contribution of the group of poets around Alfred Kreymborg's Others
magazine, including William Carlos Williams, Wallace Stevens, Mina
Loy and Djuna Barnes, and such modernist artists as Marguerite and
William Zorach, Charles Demuth and Bror Nordfeldt, to the Players'
developing modernist aesthetics. The impact of their modernist art
and ideas on such central Provincetown figures as Eugene O'Neill,
Susan Glaspell, and Edna St Vincent Millay and a second generation
of artists, such as e. e. cummings and Edmund Wilson, who wrote
plays for the Provincetown Playhouse, is evident in Murphy's close
analysis of over thirty plays.
The importance of Native American realism is traced through a study
of the evolution of dramatic theory from the early 1890s through
World War I and the uniquely American innovations in realistic
drama between world wars.
This is a book-length study of the collaboration between Tennessee
Williams and Elia Kazan. Their intense creative relationship,
fuelled by a deep personal affinity that endured until Williams's
death, lasted from 1947 until 1960. The production of A Streetcar
Named Desire established Williams as America's greatest playwright
and Kazan as its most important director; together they created
some of the most influential theatrical events of the post-war era.
In this book Brenda Murphy analyses this artistic partnership and
the plays and theatrical techniques the artists developed
collaboratively in their productions of A Streetcar Named Desire,
Camino Real, Cat on a Hot Tin Roof, and Sweet Bird of Youth. In
addition, Murphy suggests alternative ways to examine the working
relationship between playwright and director which can be applied
to other practitioners in twentieth-century drama. The book
contains numerous illustrations from important productions.
The Provincetown Players was a major cultural institution in
Greenwich Village from 1916 to 1922, when American Modernism was
conceived and developed. This study considers the group's vital
role, and its wider significance in twentieth-century American
culture. Describing the varied and often contentious response to
modernity among the Players, Murphy reveals the central
contribution of the group of poets around Alfred Kreymborg's Others
magazine, including William Carlos Williams, Wallace Stevens, Mina
Loy and Djuna Barnes, and such modernist artists as Marguerite and
William Zorach, Charles Demuth and Bror Nordfeldt, to the Players'
developing modernist aesthetics. The impact of their modernist art
and ideas on such central Provincetown figures as Eugene O'Neill,
Susan Glaspell, and Edna St Vincent Millay and a second generation
of artists, such as e. e. cummings and Edmund Wilson, who wrote
plays for the Provincetown Playhouse, is evident in Murphy's close
analysis of over thirty plays.
Congressional Theatre is the first book to identify and examine the significant body of plays, films, and teleplays that responded to the actions of the House Committee on Un-American Activities during the "show business hearings" it held between 1947 and 1960. Among the writers discussed are Arthur Miller, Bertolt Brecht, Lillian Hellman, Maxwell Anderson, Elia Kazan, Barrie Stavis, Herman Wouk, Eric Bentley, Saul Levitt, Budd Schulberg, Carl Foreman, Abraham Polonsky, and Walter Bernstein.
This is the first full production history of Long Day's Journey Into Night, by Eugene O'Neill. It provides a detailed account of the most significant productions throughout the world, on stage, film, and television. The book conveys the unique interpretations of the Tyrone family by such actors as Fredric March, Jason Robards, Laurence Olivier, Ralph Richardson, Katharine Hepburn, Colleen Dewhurst, Ruby Dee, Kevin Spacey, Jack Lemmon, and Alan Bates, among other distinguished theatre artists. This history includes a production chronology, bibliography, discography and videography.
Congressional Theatre is the first book to identify and examine the significant body of plays, films, and teleplays that responded to the actions of the House Committee on Un-American Activities during the "show business hearings" it held between 1947 and 1960. Among the writers discussed are Arthur Miller, Bertolt Brecht, Lillian Hellman, Maxwell Anderson, Elia Kazan, Barrie Stavis, Herman Wouk, Eric Bentley, Saul Levitt, Budd Schulberg, Carl Foreman, Abraham Polonsky, and Walter Bernstein.
This volume addresses the work of women playwrights throughout the history of the American theater, from the early pioneers to contemporary feminists. Each chapter introduces the reader to the work of one or more playwrights, covering significant writers such as Rachel Crothers, Susan Glaspell, Lillian Hellman, Sophie Treadwell, Lorraine Hansberry, Alice Childress, Megan Terry, Ntozake Shange, Adrienne Kennedy, Wendy Wasserstein, Marsha Norman, Beth Henley and Maria Irene Fornes, in the context of topics such as early comedy and melodrama, feminism and realism, the Harlem Renaissance and feminism.
The importance of native American realism is traced through a study of the evolution of dramatic theory from the early 1890s through World War I and the uniquely American innovations in realistic drama between world wars.
This is the first full production history of Long Day's Journey Into Night, by Eugene O'Neill. It provides a detailed account of the most significant productions throughout the world, on stage, film, and television. The book conveys the unique interpretations of the Tyrone family by such actors as Fredric March, Jason Robards, Laurence Olivier, Ralph Richardson, Katharine Hepburn, Colleen Dewhurst, Ruby Dee, Kevin Spacey, Jack Lemmon, and Alan Bates, among other distinguished theatre artists. This history includes a production chronology, bibliography, discography and videography.
This is the first book to provide a critical history of one of the American theater's most famous plays, Death of a Salesman. Brenda Murphy offers a detailed account of the most significant Salesman productions throughout the world, on the stage as well as in film, radio, and television. The play has also provided a number of memorable interpretations by actors such as Dustin Hoffman, George C. Scott, Frederic March, and Mel Gibson. The volume includes a production chronology, bibliography, discography, videography, and photographs from key productions.
The most destructive storm of the 2012 Atlantic hurricane season,
Superstorm Sandy smashed ashore on the U.S. East Coast in October
2012 after cutting a path of destruction north from the Caribbean.
Altogether, it has been estimated to have caused more than $68
billion in damage, and killed over 200 people in several countries.
The second-costliest such storm in U.S. history behind only
Hurricane Katrina in 2005 Sandy is reported to have killed at least
117 people in the United States alone, and it caused tremendous
damage along the most populated coastline in the country. As a
result, Sandy generated 144,484 claims under federal flood
insurance coverage under the National Flood Insurance Program
(NFIP). This book begins by laying out how the NFIP claims
management process works, how its various pieces interact, and how
the Federal Emergency Management Agency (FEMA) attempts to ensure
quality control. It then explores the incentive structures that
face insurance companies, claims processing vendors, adjusters, and
engineers, and the management challenges that confront the NFIP as
it attempts to handle catastrophic flood events.
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Brenda Murphy
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