Titlebook: Revision as Resistance in Twentieth-Century American Drama; Meredith M. Malburne-Wade Book 20151st edition Palgrave Macmillan, a division

斜坡

by experimenting a method that can bring operational extensions. The project was part of the economic evaluation of amenities that place well-being as one of the fundamental principles for assessing the quality of life in the context of enhancing ecosystem services, biodiversity, and urban resilienc

协迫

t is sometimes difficult to improve public awareness and enhance social implementation of GI. To expand the idea of GI and apply it widely in our society, we should understand clearly what exactly GI is and where and how it can be applied. In this article, we classify the types of GI and present a b

终点

Introduction,y spoke to—or whistled at—the wife of a white storeowner. Her husband and his half brother dragged Till out of his family’s home a few nights later, beat him, shot him, and dropped him in the river with a cotton gin fan tied around his neck with barbed wire. His mother insisted upon an open coffin a

永久

,Confession and Crime, Confession as Crime: Williams’s , and Miller’s , the United States, manifesting itself in the House Un-American Activities Committee (HUAC) and McCarthyism. Reflecting on the insidiousness of these proceedings later in his life, Arthur Miller questioned, “Why was there so little real opposition to this madness?” (“Again They Drink”). It is a ques

简洁

,Confrontation and Challenge: Baldwin’s , as a Response to the Murder of Emmett Till,history, our understanding of our nation, and our understanding of ourselves. Retelling the murder of Emmett Till and inspired by the murders of Till and Medgar Evers, Baldwin uses his 1964 play . as a means of situating the reader/viewer in “Plaguetown, U.S.A.,” where race relations are synonymous

Oligarchy

,Condemnation as Redress: Melville’s ,, Wright’s , …, and Lowell’s ,itself a revision of a historical, nonfiction document, was originally published serially in . in 1855 and later released in a collection of Melville’s works. And, while many critics have erroneously dubbed Wright’s piece a short story (likely due to its inclusion in Wright’s collection of stories,

Cardiac

,Celebration of Family as a Means of Difference and Hope: Hansberry’s , and Odets’s ,demonstrates both the imperfections of Odets’s work and the imperfections remaining in race relations at the end of the 1950s. In 1959, Lorraine Hansberry’s . took the stage. The play itself shows a remarkable interest in the 1930s, specifically Clifford Odets’s 1935 production, . There is a direct

Regurgitation

Conclusion: Intentions and Impacts,, art is decidedly, inherently, and intentionally political. Imbued with a message, a viewpoint, and a drive, these artists’ plays push toward creating ., whether more awareness, more anger, or more action. Williams never spoke openly of ., but his piece is nonetheless permeated by overt, didactic c

mediocrity

,Confrontation and Challenge: Baldwin’s , as a Response to the Murder of Emmett Till,arkness here, and this is one man’s attempt to bear witness to the reality and the power of light” (Baldwin, “Notes for Blues” xv). Such light, for Baldwin, is to be found in the reactions to such murders. At the close of his play, his surviving characters—and hopefully his audience—prepare to stand and fight for justice and equality.

Inscrutable

Conclusion: Intentions and Impacts,ght): “I would hurl words into the darkness and wait for an echo, and if an echo sounded, not matter how faintly, I would send other words to tell, to march, to fight […]” (. 384). Robert Lowell struggled with his message, finding himself both desiring and resisting change.