Edward Albee as Theatrical and Dramatic Innovator offers eight essays and a major interview by important scholars in the field that explore this three-time Pulitzer prize-winning playwright’s innovations as a dramatist and theatrical artist. They consider not only Albee’s award-winning plays and his contributions to the evolution of modern American drama, but also his important influence to the American theatre as a whole, his connections to art and music, and his international influence in Spanish and Russian theatre.
Contributors: Jackson R. Bryer, Milbre Burch, David A. Crespy, Ramon Espejo-Romero, Nathan Hedman, Lincoln Konkle, Julia Listengarten, David Marcia, Ashley Raven, Parisa Shams, Valentine Vasak
Politics and Cultures of Liberation: Media, Memory, and Projections of Democracy focuses on mapping, analyzing, and evaluating memories, rituals, and artistic responses to the theme of “liberation.” How is the national framed within a dynamic system of intercultural contact zones highlighting often competing agendas of remembrance? How does the production, (re)mediation, and framing of narratives within different social, territorial, and political environments determine the cultural memory of liberation? The articles compiled in this volume seek to provide new interdisciplinary and intercultural perspectives on the politics and cultures of liberation by examining commemorative practices, artistic responses, and audio-visual media that lend themselves for transnational exploration. They offer a wide range of diverse intercultural perspectives on media, memory, liberation, (self)Americanization, and conceptualizations of democracy from the war years, through the Cold War era to the 21st century.
Transatlantic Revolutionary Cultures, 1789-1861 argues that the revolutionary era constituted a coherent chapter in transatlantic history and that individual revolutions were connected to a broader, transatlantic and transnational frame. As a composite, the essays place instances of political upheaval during the long nineteenth century in Europe and the Americas in a common narrative and offer a new interpretation on their seeming asynchrony. In the age of revolutions the formation of political communities and cultural interactions were closely connected over time and space. Reciprocal connections arose from discussions on the nature of history, deliberations about constitutional models, as well as the reception of revolutions in popular culture. These various levels of cultural and intellectual interchange we term “transatlantic revolutionary cultures.”
Contributors are: Ulrike Bock, Anne Bruch, Peter Fischer, Mischa Honeck, Raphael Hörmann, Charlotte A. Lerg, Marc H. Lerner, Michael L. Miller, Timothy Mason Roberts, and Heléna Tóth.
In 1936, director John Ford claimed to be making movies for “a new kind of public” that wanted more honest pictures. Graham Cassano’s
A New Kind of Public: Community, solidarity, and political economy in New Deal cinema, 1935-1948 argues that this new kind of public was forged in the fires of class struggle and economic calamity. Those struggles appeared in Hollywood productions, as the movies themselves tried to explain the causes and consequence of the Great Depression. Using the tools of critical Marxism and cultural theory, Cassano surveys Hollywood’s political economic explanations and finds a field of symbolic struggle in which radical visions of solidarity and conflict competed with the dominant class ideology for the loyalty of this new audience.