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Journal articles on the topic 'African drama – History and criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2024

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1

Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.

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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.

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2

Zhang, Jinsong. "Discussion on Raymond Williams’ Methodology of Drama Criticism." Journal of Contemporary Educational Research 5, no. 10 (October 29, 2021): 153–57. http://dx.doi.org/10.26689/jcer.v5i10.2635.

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Raymond Williams is one of the representative figures of British cultural Marxism and British cultural research. His cultural research, especially mass culture research, focuses on literary criticism. Among them, drama criticism is one of Williams’ most important forms of cultural criticism methodology. Williams’ drama criticism is based on drama history criticism. Through the historical analysis of drama content and form as well as the synchronic analysis of modern drama in different historical periods, including the ongoing drama history, Williams proposed the notion of “structures of feeling.” The emergence of this concept opened up the social critical dimension of Williams’ drama criticism. Drama criticism has become a window for examining, analyzing, and grasping the current social emotional structure or social culture. Furthermore, by implanting tragic plots in the drama, a potential practical strategy of social and cultural revolution can be realized.

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3

Conteh-Morgan, John. "African Traditional Drama and Issues in Theater and Performance Criticism." Comparative Drama 28, no. 1 (1994): 3–18. http://dx.doi.org/10.1353/cdr.1994.0000.

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4

McEvilla, Joshua, Elizabeth Sharrett, Jennifer Cryar, Cristiano Ragni, and Alice Equestri. "VIII Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 98, no. 1 (2019): 445–94. http://dx.doi.org/10.1093/ywes/maz003.

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Abstract This chapter has three sections: 1. Editions and Textual Matters; 2. Theatre History; 3. Criticism. Section 1 is by Joshua McEvilla; section 2 is by Elizabeth Sharrett; section 3(a) is by Jennifer Cryar; section 3(b) is by Cristiano Ragni; section 3(c) is by Alice Equestri.

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Kurdi, Mária. "Samuel Beckett’s Drama in Hungarian Theatre History and Criticism before 1990." Theatron 16, no. 4 (2022): 54–69. http://dx.doi.org/10.55502/the.2022.4.54.

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The international and intercultural aspects of Samuel Beckett’s theatre have been widely recognised by an increasing number of scholarly works in the last few decades. This article offers a study of the pre-1990 reception of Beckett’s drama and theatre in Hungarian criticism and literary and theatre histories. Its focus is on critical and theoretical investigations of three of Beckett’s masterpieces for the stage, Waiting for Godot (1953), Endgame (1957), and Happy Days (1961), provided by Hungarian authors in Hungary or in Hungarian-language forums of the neighbouring countries. While mentioning all the premieres of the three masterpieces in Hungary during the given period, the article surveys and compares only those ideas across the various theatre reviews, which contribute to the Hungarian critical reception of Beckett and the selected works. To place the addressed pre-1990 Hungarian studies and reviews in the broader field, the article is framed by references to some relevant writings of international Beckett scholars.

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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.

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Amkpa, Awam. "Review: Drama and the South African State." Literature & History 2, no. 1 (March 1993): 133–35. http://dx.doi.org/10.1177/030619739300200135.

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8

Cohen, Stephen, and Lawrence J. Ross. "On Measure for Measure: An Essay in Criticism of Shakespeare's Drama." Sixteenth Century Journal 29, no. 2 (1998): 510. http://dx.doi.org/10.2307/2544531.

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9

Elam, Harry J. "Testifyin’: Contemporary African Canadian Drama, Volumes 1 and 2." Canadian Theatre Review 118 (June 2004): 117–19. http://dx.doi.org/10.3138/ctr.118.021.

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Djanet Sears’s Testifyin’: Contemporary African Canadian Drama, volumes 1 and 2, proudly proclaims the viability and variability of African Canadian drama. While Sears, in her introduction to volume 1, praises the resiliency of African Canadian theatrical production, she also remarks on the poor funding available at present for contemporary Black theatre companies and the limited recognition that African Canadian drama has garnered within the annals of Canadian theatre history. To rectify this absence, Sears has collected ten plays in volume 1 and nine additional plays in volume 2 – plays by a total, in the two volumes together, of some twenty different playwrights. (Some of the works are co-written, and three playwrights, including Sears, appear in both volumes.) Together, these works boldly announce the diversity of contemporary African Canadian drama in form and content. These nineteen plays speak imaginatively to the multiple ways that Blackness and African Canadian identity have been constructed and repeatedly reconstructed in Canada, past and present.

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Osinubi, Taiwo. "African Queer Autobiographics: Drama, Disclosure, and Pedagogy." a/b: Auto/Biography Studies 35, no. 3 (August 21, 2020): 749–70. http://dx.doi.org/10.1080/08989575.2020.1766202.

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11

Adeyemi, Olusola Smith. "Interrogating Nationalist Ideologies in Nigerian Drama: A Textual Analysis of Esiaba Irobi’s <i>Hangmen Also Die</i>." International Journal of Current Research in the Humanities 27, no. 1 (May 6, 2024): 435–48. http://dx.doi.org/10.4314/ijcrh.v27i1.28.

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There is no contesting the fact that dramatic writing and criticism in Africa have their relevance; either for the purpose of entertainment, information or conscientisation for social transformation, or drawing attention to new ideas in scholarship. Also, within this, is the notion that every writer has his/her ideological leaning(s), which serve as the springboard for contextual understanding of what the work addresses. Esiaba Irobi is one of such writers that deploy their drama texts in the signposting the aforementioned ideals. This article, through textual analysis, investigates how the play, Hangmen Also Die engages the concepts of nationalism and the call for social order. Using the Social Revolution Theory (SRT), the paper argues that Irobi’s Hangmen Also Die contributes to the comprehension of the discourses of nationalism and national development. Like other related African drama texts, the play calls for subtle social revolution especially in Nigeria’s political landscape.

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12

Milne, Drew. "Cheerful History: the Political Theatre of John McGrath." New Theatre Quarterly 18, no. 4 (November 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.

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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.

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Price, Sally. "Patchwork history : tracing artworlds in the African diaspora." New West Indian Guide / Nieuwe West-Indische Gids 75, no. 1-2 (January 1, 2001): 5–34. http://dx.doi.org/10.1163/13822373-90002556.

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Essay on interpretations of visual art in societies of the African diaspora. Author relates this to recent shifts in anthropology and art history/criticism toward an increasing combining of art and anthropology and integration of art with social and cultural developments, and the impact of these shifts on Afro-American studies. To exemplify this, she focuses on clothing (among Maroons in the Guianas), quilts, and gallery art. She emphasizes the role of developments in America in these fabrics, apart from just the African origins.

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Khokholkova, Nadezhda. "Postcolonial Approach in African Studies: Approval and Criticism." ISTORIYA 13, no. 3 (113) (2022): 0. http://dx.doi.org/10.18254/s207987840020689-6.

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Postcolonialism as a phenomenon that exists in the global, chronological and methodological dimensions, has a complex impact on sociocultural reality and academic life. The article is devoted to the problem of interaction between postcolonial discourse and the field of African studies. The author focuses on the historical dynamics and the degree of integration of Africa and researchers of African descent into the processes of building postcolonial theories and methodologies. Particular emphasis is placed on the ongoing discussions among the academic elite about the adequacy of applying the postcolonial approach to studies of Africa.

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15

Villalba-Lázaro, Marta. "Guy Butler's Demea." Grove - Working Papers on English Studies 29 (December 23, 2022): 131–49. http://dx.doi.org/10.17561/grove.v29.6658.

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While the relation between classical mythology and postcolonialism may appear as an inconsistency, many postcolonial writers identify postcolonial issues in the literary reception of the classics, and look back to classical mythology and their own precolonial myths to gain a better understanding of their present. In the intersection of myth criticism and postcolonialism, this article discusses Guy Butler’s Demea, a postcolonial drama written in the 1960s but, due to political reasons, not published or performed until 1990. Butler’s play blends the classical myth of Medea with South African precolonial mythology, to raise awareness of the apartheid political situation, along with gender and racial issues.

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Villalba-Lázaro, Marta. "Guy Butler's Demea." Grove - Working Papers on English Studies 29 (December 23, 2022): 131–49. http://dx.doi.org/10.17561/grove.29.6658.

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While the relation between classical mythology and postcolonialism may appear as an inconsistency, many postcolonial writers identify postcolonial issues in the literary reception of the classics, and look back to classical mythology and their own precolonial myths to gain a better understanding of their present. In the intersection of myth criticism and postcolonialism, this article discusses Guy Butler’s Demea, a postcolonial drama written in the 1960s but, due to political reasons, not published or performed until 1990. Butler’s play blends the classical myth of Medea with South African precolonial mythology, to raise awareness of the apartheid political situation, along with gender and racial issues.

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17

Maritz, P. J. "History reconstruction: Third century parallels to 20th century South African Church 'History Origen Adamantinus." Verbum et Ecclesia 18, no. 2 (July 4, 1997): 291–304. http://dx.doi.org/10.4102/ve.v18i2.564.

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History reconstruction: Third century parallels to 20th century South African Church History - Origen Adamantinus. In this paper a possible third century contribution to Church History reconstruction is considered. This is employed as an example for South African church historians who are dedicated to history interpretation, whether it be from the perspective of: acceptance on face value; justification; verification; criticism or renunciation of twentieth century historical events and the WG)'S in which they have influenced the prophetic task of the church in South Africa. To this end, a parallel is drawn between third century Origen and a few South African church figures from the twentieth century, which will highlight the church's continuing prophetic ministry.

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18

Knowles, Richard Paul. "CTR and Canadian Theatre Criticism: Constructing the Discipline." Canadian Theatre Review 79-80 (June 1994): 10–13. http://dx.doi.org/10.3138/ctr.79-80.002.

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In an article published in Theatre History in Canada (1990), and in his introduction to The CTR Anthology, Alan Filewod has analysed “The Canon According to CTR”, usefully examining the ways in which CTR constructed, and subsequently deconstructed, “Canadian Theatre”, and particularly Canadian drama, throughout the 1970s and 80s. Filewod was concerned primarily to explore the selection and publication of playscripts in the journal, and the ways in which the discourse of CTR has shifted over the years and over its first three editorial “regimes”, as he calls them, to become increasingly pluralistic, concerning itself less with building a national theatrical identity and dramatic canon, and more with decentring that canon.

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19

Panova, Olga. "Phillis Wheatley in American Literary History and African American Literary Criticism." Literature of the Americas, no. 4 (2018): 8–40. http://dx.doi.org/10.22455/2541-7894-2018-4-8-40.

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20

Lampert, Nick. "Social criticism in Soviet drama: The plays of Aleksandr Gel'man." Soviet Studies 39, no. 1 (January 1987): 101–15. http://dx.doi.org/10.1080/09668138708411676.

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21

Zhurcheva, Olga V. "“New drama”: Pro et contra." Izvestiya of Saratov University. Philology. Journalism 22, no. 4 (November 23, 2022): 484–87. http://dx.doi.org/10.18500/1817-7115-2022-22-4-484-487.

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At the end of the 20th – the beginning of the 21st century there were serious changes in the poetics of drama, defining the strategy of artistic forms and features of artistic consciousness. This gives the right to single out the history of the “new drama” in a separate period of the literary and theatrical process. A new book by the Belarusian researcher S.Ya. Goncharova-Grabovskaya “Modern Russian Dramaturgy (late 20th – early 21st century)” is devoted to generalization and comprehension of this period, which is considered and announced in the presented review. The book examines the main trends in the development of the Russian drama at the turn of the 20-21st centuries: the history of the emergence of the “new drama” movement, aspects of poetics (hero, conflict, chronotope, language), genre-style vector (social drama, documentary drama, monodrama, remake plays, drama of the absurd) – all that defines the specific features of the modern dramaturgical process. The focus is on the plays of famous playwrights, which have been staged in theaters in Russia and Belarus, have received positive reviews in criticism. The peculiarity of the reviewed book is that it analyzes modern Belarusian drama, traces its connection with the Russian. The book includes overview chapters reflecting the genre and style parameters of drama, a list of plays, information about playwrights, control questions and assignments. The scientific and methodological publication under review is expected to be in high demand not only in the philological environment, but also among theater critics and theater historians.

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Waligora-Davis, Nicole. "The African American Male, Writing, and Difference: A Polycentric Approach to African American Literature, Criticism, and History (review)." Biography 26, no. 4 (2003): 750–55. http://dx.doi.org/10.1353/bio.2004.0028.

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23

Bodomo, Adams, and Eun-Sook Chabal. "Africa – Asia Relations through the Prism of Television Drama." African and Asian Studies 13, no. 4 (December 10, 2014): 504–29. http://dx.doi.org/10.1163/15692108-12341319.

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Even though many African and Asian countries share a common history of European colonialism and thus a model of economic development shaped within the aegis of center-periphery analysis, many Asian countries have been able to ride through the burden of center-periphery economics and built more successful political economies than most African countries. This state of affairs has often led many African analysts to point to Asian success stories like China and South Korea for comparative analysis and often see these Asian countries as models of socio-economic and socio-cultural success to emulate. In particular, Africans in the Diaspora, especially Africans in China, tend to compare very frequently the socio-economic and socio-cultural conditions of their host countries with those of their source countries. This paper outlines and discusses how a group of Africans living in Hong Kong and other parts of Asia see Korea and Korean culture through the prism of Korean television dramas, which constitute a popular cultural phenomenon among Hong Kong/Asian youths. Through qualitative and quantitative survey methods, participant-observation, and questionnaire surveys, the paper reports on how African community members of Hong Kong and others think of Koreans. We show that Africans draw a lot of comparisons between Korean and African ways of conceptualizing the world.

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Chepkwony, Kipkoech Mark. "The Philosophy of Dissimilation, Meaninglessness and Isolation in Theatre of the Absurd: Evidence from John Ruganda’s Two Plays." East African Journal of Education Studies 5, no. 1 (February 25, 2022): 77–84. http://dx.doi.org/10.37284/eajes.5.1.563.

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Drama and theatrical performance remain one of the most effective ways through which life’s reality can be experienced, described, perceived and portrayed. Absurd drama has come to be seen as one of the most modern literary movements that have been adopted by African playwrights, Ruganda included. Based on a study of plays by Ugandan playwright John Ruganda, this paper discusses the philosophy of dissimilation, meaninglessness and isolation in theatre of the absurd. The study used Ruganda’s two plays, namely The Floods and Shreds of Tenderness. The various modes through which absurd drama appeal to the aesthetic sensibilities were examined. The study employed descriptive research and used purposive sampling. Data was analysed qualitatively by describing the findings of the study to arrive at inferences and conclusions. In Ruganda’s plays, the country is represented as being sick and in dire need of an urgent remedy but no one has the desire to bring in a solution to it. The sickness has not only affected the people as individuals but the nation as a whole. The playwright is by extension pointing to the cause of the sickness affecting the nation as being attributed to bad leadership. Using the lives of main characters, the playwright also demonstrates the senselessness of the human life and the inadequacy of the rational approach by the open abandonment of rational devices and discursive thought. The characters are portrayed as isolated and lonely individuals whose lives and fate area mere subject of time. The finding of the study is an important contribution to understanding drama and the changing trend in literary criticism in drama

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25

Eziechine, Augustine Obiajulu. "An evaluation of the dramatic aesthetics of Ikenge and Ifejioku festivals of Ossissa people of Delta State." IKENGA International Journal of Institute of African Studies 22, no. 3 (September 1, 2021): 1–16. http://dx.doi.org/10.53836/ijia/2021/22/3/005.

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This paper evaluates the dramatic aesthetics of the Ikenge and Ifejioku festivals of Ossissa people of Ndokwa-East Local Government Area of Delta State, Nigeria. The study, which is a survey of the performance tradition, critically analyses the controversy surrounding the views of African dramatic scholars (the evolutionists and the relativists) on the question of what constitutes drama in the context of Nigerian traditional performances. This controversy arose as a result of Aristotle’s concept of drama with its emphasis on imitation, plot, dialogue, conflict, etc. Based on this concept, Ruth Finnegan describes the indigenous festival traditions in Africa as “quasi-dramatic phenomena” that lack the Western dramatic structures. While the evolutionist school of thought argues that the traditional festivals are not drama but rituals, the relativist school claims that the traditional festivals in Africa can be considered as dramatic performances since most of the features of drama such as music and dance, audience participation, costumes, stage, etc., are present in the festival traditions. The study employs a field work-oriented methodology, involving participatory observation of the festivals, interviews, documentary analysis, audio records, and photographs of scenes and events. The findings of the study confirm that traditional African festivals are indeed dramatic performances. The study concludes that the African traditional performance mode is indigenous to African people and must not necessarily mirror the Western model. The paper, therefore, submits that the Ikenge and Ifejioku festivals of Ossissa can be seen as complete drama just like any other Western dramatic forms.

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Segovia, Miguel A., and W. Lawrence Hogue. "The African American Male, Writing, and Difference: A Polycentric Approach to African American Literature, Criticism, and History." African American Review 38, no. 4 (2004): 737. http://dx.doi.org/10.2307/4134437.

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M, Kavitha. "Nachinarkiniyar History and Textual Ability." International Research Journal of Tamil 4, S-8 (July 21, 2022): 233–38. http://dx.doi.org/10.34256/irjt22s834.

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Tamil language and literature have flourished with speeches composed by speechwriters. Are greatly aiding researchers who think innovatively. Texts serve as a bridge between linguistic research and e-literary criticism. The texts convey how the Tamil language has changed over time, as well as the living conditions, political changes and customs of the Tamil people. This article explores the history and textual ability of Nachinarkiniyar. Nachinarkiniyar was a knowledgeable and knowledgeable man of various arts, writing semantics for songs, and also possessing the art of religious ideas, music, drama, etc., which are included in the book. He is well versed in grammar, literature, dictionary, epic and puranam in Tamil. He is well versed in astrology, medicine, architecture, and crops. Nachinarkiniyar, who has written for Tamil grammar books, is well versed in the Vedic and phylogenetic theory of Sanskrit and is a university-oriented scholar of Tamil, Sanskrit scholarship, religious knowledge, land book knowledge, life and biology. This article explores the history and textual ability of Nachinarkiniyar.

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Sanders, Leslie. "THE POLITICS OF REPRESENTATION: SOME RECENT AFRICAN-AMERICAN LITERARY CRITICISM." Canadian Review of American Studies 21, no. 2 (September 1990): 247–60. http://dx.doi.org/10.3138/cras-021-02-10.

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Pejčić, Aleksandar. "The dramas of Manojlo Đorđević Prizrenac on the Serbian stage." Zbornik radova Filozofskog fakulteta u Pristini 54, no. 2 (2024): 113–32. http://dx.doi.org/10.5937/zrffp54-50364.

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The paper interprets and evaluates the dramas performed by Manojlo Đorđević Prizrenac: Slobodarka, Zlatna grivna, and Jasmina and Irena. The first part of the paper focuses on the key poetic, dramaturgical, and genre features of these dramas, demonstrating that Prizrenac was a good playwright who mastered this demanding form very early on. The dominant meaning layers of each drama were interpreted separately (action, plot, space, and conception of characters) from a structural, semiological, and cultural point of view. The final part of the paper examines the reception of criticism as well as the place of Prizrenac's drama opus in the history of Serbian theater from a literary-historical and theatrical perspective. His dramas were performed with nice scenic success in the National Theaters in Belgrade and Novi Sad, as well as Nikšić and Niš.

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Herold, Niels. "Madness and Drama in the Age of Shakespeare. A Review Article." Comparative Studies in Society and History 37, no. 1 (January 1995): 94–99. http://dx.doi.org/10.1017/s001041750001954x.

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Duncan Salkeld's study of madness in the age of Shakespeare is conceived of as being against the grain of both traditional literary criticism and historiography. Noting that the critical contemplation of the inner life of Shakespearean character has been central (as far back as Coleridge) to previous approaches to the study of madness in Shakespeare, Salkeld argues instead that the “inner worlds of the mind of Shakespearean characterization are largely represented by external appearance, in language describing corporeal states.” Thus, the towering constructs of personality in Lear and Hamlet, for example, are turned inside out when critical attention is focused on the “materiality” of madness and its forms. This privileging of “external appearance” and “corporeality” over the imagined inner life of character is licensed by Salkeld's thesis that personal crises in the dramatic lives of Shakespeare's tragic heroes and heroines must invariably be read qua political crisis. The author writes that any “discussion of the internal life of a character then becomes a second order issue, and considerably more problematic when the historical specificity of these conditions is addressed” (p. 2).

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Benson, Eugene, and L. W. Conolly. "English-Canadian Theatre." Canadian Theatre Review 57 (December 1988): 90–91. http://dx.doi.org/10.3138/ctr.57.020.

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English-Canadian Theatre, part of a new Oxford University Press series which surveys various aspects of Canadian literary culture, offers a scholarly overview of its topic. Written by two professors at the University of Guelph who have an ongoing concern for Canadian theatre, the book claims to be the first comprehensive work to draw together a history of our nation’s anglophone theatre and an assessment of its drama. Though there’s little doubt that dramatic criticism and theatre history are interdependent, Benson and Conolly sometimes go on seeming tangents in their literary discussions, especially given the confines of a slim volume (114 pages of text, followed by a selected bibliography and index).

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Warren, Kenneth W. "Back to Black: African American Literary Criticism in the Present Moment." American Literary History 34, no. 1 (February 1, 2022): 369–79. http://dx.doi.org/10.1093/alh/ajab082.

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Abstract For more than a century, scholars of Black literature have sought to align a critical project focused on identifying and celebrating Black distinctiveness with a social project aimed at redressing racial inequality. This commitment to Black distinctiveness announces itself as a project on behalf of “the race” as a whole, but has always been, and remains, a project and politics guided in the first instance by the needs and outlook of the Black professional classes. Over the first half of the twentieth century, this cultural project achieved some real successes: politically, it helped discredit the moral and intellectual legitimacy of the Jim Crow order that in various ways affected all Black Americans; culturally, it placed Black writers in the vanguard of a modernist project predicated on multicultural pluralism. Since the 1970s the limitations of this project, culturally and politically, have become increasingly evident. Blind to the class dimension of their efforts, literary scholars continue to misrepresent the historical/political nature of the project of Black distinction as a property of cultural texts themselves. Overestimating the efficacy of race-specific social policies, these scholars disparage the universalist social policies that would most effectively benefit a majority of Black Americans.

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Hollinger, David A. "The Accommodation of Protestant Christianity with the Enlightenment: An Old Drama Still Being Enacted." Daedalus 141, no. 1 (January 2012): 76–88. http://dx.doi.org/10.1162/daed_a_00130.

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Throughout its history, the United States has been a major site for the accommodation of Protestant Christianity with the Enlightenment. This accommodation has been driven by two closely related but distinct processes: the demystification of religion's cognitive claims by scientific advances, exemplified by the Higher Criticism in Biblical scholarship and the Darwinian revolution in natural history; and the demographic diversification of society, placing Protestants in the increasingly intimate company of Americans who did not share a Protestant past and thus inspiring doubts about the validity of inherited ideas and practices for the entire human species. The accommodation of Protestant Christianity with the Enlightenment will continue to hold a place among American narratives as long as “diversity” and “science” remain respected values, and as long as the population includes a substantial number of Protestants. If you think that time has passed, look around you.

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Williams, Roland Leander. "Reading African American Autobiography: Twenty-First-Century Contexts and Criticism ed. by Eric D. Lamore." Biography 41, no. 2 (2018): 435–38. http://dx.doi.org/10.1353/bio.2018.0043.

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Matyjaszczyk, Joanna. "Struggles with Dramatic Form in 16th-Century English Biblical Plays." Anglica. An International Journal of English Studies, no. 31/1 (October 2022): 5–27. http://dx.doi.org/10.7311/0860-5734.31.1.01.

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The aim of the article is to pinpoint how 16th-century biblical drama tried to appropriate its genre and medium to carry the reformist message and in what sense the project turned out to be a self-defeating one. The analysis of selected plays from reformed biblical cycles (The Chester Mystery Cycle, play iv; and “The Norwich Grocers’ Play”) and newly composed drama (John Bale’s plays, Lewis Wager’s Life and Repentaunce of Marie Magdalene, the anonymous “History of Jacob and Esau”), supported with an over- view of the criticism on the matter, reveals some common tensions in the dramatic texts which may have had their roots in the reformist need to eliminate any room for doubt that a theatrical performance could leave. The conclusion is that, in its attempts at striking the right balance between dramatizing and overt sermonizing, engaging and distancing, as well as providing an immersive experience and discouraging it, post-Reformation Scrip- ture-based drama oscillated between being more effective as a performance or as a carrier of the doctrinal message, with the resulting tendency to subvert either the former or the latter.

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Kozhukhar, Vladimir. "In the wake of one publication, or about the attitude to the history of science as a science." Vestnik of Saint Petersburg University. Medicine 17, no. 4 (2022): 315–26. http://dx.doi.org/10.21638/spbu11.2022.407.

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The article is a historical investigation devoted to reliability of Professor T. A. Ginetsinskaya’s publication about the circumstances of Professor E. S. Danini’s speech (December 1954) criticizing O. B. Lepeshinskaya’s “new cellular theory”. After analyzing scientific sources, memoirs of contemporaries of the described events and comparing the dates, the author proves that E. S. Danini’s speech in the context given in T. A. Ginetsinskaya’s article could not have taken place in reality. It took place in other circumstances and was not so dramatic. This is indicated by the documented memories of eyewitnesses and participants of the meetings, as well as materials of speeches by members of the Society of Anatomists, histologists and embryologistsat the Institute of Experimental Medicine (including E. S. Danini). In addition, it is shown that criticism of Lepeshinskaya’s “new cellular theory” had begun much earlier than December 1954. The article provides data of numerous critical speeches about Lepeshinskaya’s theory at various meetings in 1953 and 1954. Criticism of Lepeshinskaya’s views by the end of 1954 ceased to pose a danger to critics, and therefore the drama of the situation described in Ginetsinskaya’s article does not seem to correspond to the realities of that time.

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Elam Jr., Harry J. "Making History." Theatre Survey 45, no. 2 (November 2004): 219–25. http://dx.doi.org/10.1017/s0040557404000171.

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These three quotes will serve as a starting point as I enter into this discussion of the import and role of theatre history. While I make a case for theatre history generally, my examples and thesis are drawn from African American theatre history most specifically. My argument is for a critical historicism, a process that recognizes the need to historicize and situate dramatic criticism as well as the need to theorize history or, as Walter Benjamin suggests, to “rub history against the grain.” Rubbing history against the grain means that we must interrogate the past in order to inform the present, remaining cognizant of the material conditions that not only shape theatrical production but the historical interpretations of production. It implies a need to work against conventional historical narratives and the ways in which history has been told in the past.

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Plastow, Jane. "Theatre of Conflict in the Eritrean Independence Struggle." New Theatre Quarterly 13, no. 50 (May 1997): 144–54. http://dx.doi.org/10.1017/s0266464x00011003.

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Eritrea is a newly independent country whose performing arts history, based on the music and dance of her nine ethnic groups, is only just beginning to be systematically researched. Western-influenced drama was introduced to the country by the Italians in the early twentieth century, but Eritreans only began to use this form of theatre in the 1940s. The three-part series here inaugurated is the first attempt to piece together the history of Eritrean drama, beginning below with an outline of its history from the 1940s to national independence in 1991. The author explores the highly political role drama played from the outset in Eritrea's struggle towards independence and the effort to mould this alien performance form into a public voice at least for urban Eritreans. Later articles will look at the cultural troupes of the Eritrean liberation forces and at post-independence work on developing community-based theatre. The research took place as part of the continuing Eritrea Community Based Theatre Project, which is involved with practical theatre development as well as theatre research. Although this opening article is written by Jane Plastow, she wishes to stress that it is the upshot of a collaborative research exercise, for which Elias Lucas and Jonathan Stephanus were research trainees. Most of the information used here is the result of interviews they conducted and of translations of articles in Tigrinya or Amharic which they located. Training in interview techniques and collaboration over translation of material into English was conducted by the project research assistant, Paul Warwick. Jane Plastow is the director of the Eritrea Community Based Theatre Project and a lecturer at Leeds University. She initiated the project at the invitation of the Eritrean government, after working in theatre for some years in a number of African countries, notably Ethiopia. She supervised the research for this project, and used her experience of African theatre and of the politics and history of the region to draw the available material into its present state as a preliminary history of Eritrean drama.

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Niang, Sada, and Belinda E. Jack. "Negritude and Literary Criticism: The History and Theory of "Negro-African" Literature in French." African Studies Review 41, no. 2 (September 1998): 176. http://dx.doi.org/10.2307/524847.

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Arnold, A. James, and Belinda Elizabeth Jack. "Negritude and Literary Criticism: The History and Theory of "Negro-African" Literature in French." African American Review 32, no. 2 (1998): 336. http://dx.doi.org/10.2307/3042131.

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Litavrina, Marina G. "American vacations in Russian village. (Russian classics on foreign stage: problematic dialogue and the role of interpretеrs)." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2023): 10–31. http://dx.doi.org/10.35852/2588-0144-2023-2-10-31.

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The production of Turgenev’s “A Month in the Country” (Theatre Guild, 1930) is taken here as inherent example of Russian classics interpretation in the timeline of drama history and intercultural communication through theatre. Meanwhile the difficulties and obstacles on this way are revealed. In the author’s view, the named production is often underestimated being regarded as merely a remake or replica of MAT’s classical version of 1909. The stumbling block on Turgenev’s drama way to American spectators is easily identified at the close glance. According to American critics’ general agreement, Turgenev’s play was outdated, tedious and morbid. Though often flattery compared to Chekhov’s works, it is yet based, they wrote, on drama principles, “hardly worth preserving”. Chekhov’s drama highly favored by the Anglo-saxon criticism already enjoyed numerous interpretations on the American stage. Thus Chekhov turned to be Turgenev’s predecessor in the USA. Moreover, the advent of Turgenev to American stage is highly indebted to Russian immigrant theatre workers — Rouben Mamoulian, the director, and Alla Nazimova, the player of the main part — who proved to be the uniting “Russian center” of the production. The descriptions of acting, sets, mise en scene, the article is dwelling on, are borrowed from American and Russian sources, including archival, such as scrapbooks, iconography, witnesses or participants, letters, memoirs and critical reviews.

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Hargreaves, John. "From Colonisation to Avénement: Henri Brunschwig and the History of Afrique Noire." Journal of African History 31, no. 3 (November 1990): 347–52. http://dx.doi.org/10.1017/s0021853700031121.

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Henri Brunschwig (1904–1989) began his career as a notable historian of Germany but became an influential pioneer of African studies in France, first at the Ecole Nationale de la France d'Outre-Mer (1948–60) and thereafter at the Ecole Pratique des Hautes Etudes. His own research ranged from Brazza's role in the French occupation of equatorial Africa to the part played by Africans in establishing and sustaining French colonial rule. His lucid and original works of synthesis helped greatly to bring an evolving body of knowledge about the African past into the frame of modern world history. His emphasis both on rigorous standards of source-criticism and on the need for broad horizons in time and space continues to exercise authority over historians in France, Africa, and beyond.

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Emerson, Caryl. "Pretenders to History: Four Plays for Undoing Pushkin's Boris Godunov." Slavic Review 44, no. 2 (1985): 257–79. http://dx.doi.org/10.2307/2497750.

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Among the problematic works of great writers, Pushkin's Boris Godunov occupies a special place. This strange hybrid of history, drama, narrative poetry, and prose Pushkin called a “romantic tragedy,” and he considered it his masterpiece. Yet the play's publication in 1831 was met with surprise and dismay. By consensus of a baffled public, Boris Godunov was a failure—neither romantic, nor feasible on the tragic stage.Since that time, generations of critics, playwrights, and producers have tried to come to terms with this troublesome text. Tolstoi's famous comment—that all great nineteenth-century Russian works defy clear generic classification1—has been invoked in defense of many irregular texts, but not this one. Boris remains stubbornly, inexplicably “undramatic.” Criticism has in fact tended to redefine the play rather than to investigate it. Boundaries are routinely blurred between the historical Tsar Boris, the historical period when his tale is retold, and the world of the fictional creation itself.

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Edozie, R. Kiki. "Promoting African 'Owned and Operated' Development: A Reflection on The New Partnership for African Development (NEPAD)." African and Asian Studies 3, no. 2 (2004): 145–73. http://dx.doi.org/10.1163/1569209041641831.

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Abstract Though a very recent new African international regime spearheaded by the 'Renaissance' foreign policy of a Post Apartheid African leadership, Africa's New Partnership for African Development (NEPAD) reflects important departures in 'African Affairs' policy, allowing for more integrated African development as well as for new forms of participation for the continent in the global economy.Nevertheless, while representing in theory and practice a long-standing debate across the continent on issues involving economic development and globalization, in 2001, during the incipient stages of NEPAD's establishment, the general sentiment toward its goal as a continental 'self reliant' path to development – 'owned' by Africans – was heavily criticized by African policy analysts. The criticism charged that because NEPAD followed a development strategy that relied on global capital and dependent development, its objectives were doomed to fail despite the document's pan nationalistic intentions.The current article explores the extent to which NEPAD's ideological vision to combine collective political nationalism ushered in by the African Renaissance with economic globalization is plausible and achievable as a viable and realizable response to the world's poorest continent's millennium development goals. The article further analyzes the intellectual roots of NEPAD's G-8 induced African Peer Review Mechanism (APRM) revealing the shortcomings of approaching African development from the global hegemony of democracy and good governance.The article thus concludes alternatively that NEPAD's winning strategy may come from the development blueprint's emerging status as a continental regional institution driven by a renewed pan Africanist ideology.

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Sales, Roger. "Review: Shakespeare Recycled: The Making of Historical Drama, the Matter of Difference: Materialist Feminist Criticism of Shakespeare." Literature & History 3, no. 1 (March 1994): 106–9. http://dx.doi.org/10.1177/030619739400300115.

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MAXWELL, DAVID. "THE MISSIONARY MOVEMENT IN AFRICAN AND WORLD HISTORY: MISSION SOURCES AND RELIGIOUS ENCOUNTER." Historical Journal 58, no. 4 (October 29, 2015): 901–30. http://dx.doi.org/10.1017/s0018246x15000084.

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AbstractThis article is a revised and expanded version of my inaugural lecture as Dixie Professor of Ecclesiastical History at the University of Cambridge, delivered on 12 March 2014. It highlights the evolution of Ecclesiastical History to include the study of Christianity in the global south and shows how recent developments in the study of African and world history have produced a dynamic and multi-faceted model of religious encounter, an encounter which includes the agency of indigenous Christians alongside the activities of missionaries. Investigating the contribution of faith missionaries to the production of colonial knowledge in Belgian Congo, the article challenges stereotypes about the relations between Pentecostalism and modernity, and between mission and empire. Throughout, consideration is given to the range of missionary sources, textual, visual, and material, and their utility in reconstructing social differentiation in African societies, particularly in revealing indigenous African criticism of ‘custom’.

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So, Richard Jean, and Edwin Roland. "Race and Distant Reading." PMLA/Publications of the Modern Language Association of America 135, no. 1 (January 2020): 59–73. http://dx.doi.org/10.1632/pmla.2020.135.1.59.

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This essay brings together two methods of cultural‐literary analysis that have yet to be fully integrated: distant reading and the critique of race and racial difference. It constructs a reflexive and critical version of distant reading—one attuned to the arguments and methods of critical race studies—while still providing data‐driven insights useful to the writing of literary history and criticism, especially to the history and criticism of postwar African American fiction, in particular James Baldwin's Giovanni's Room. Because race is socially constructed, it poses unique challenges for a computational analysis of race and writing. Any version of distant reading that addresses race will require a dialectical approach. (RJS and ER)

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Fraden, Rena. ":A History of African American Theatre.(Cambridge Studies in American Theatre and Drama, number 18.)." American Historical Review 110, no. 3 (June 2005): 800–801. http://dx.doi.org/10.1086/ahr.110.3.800.

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Spangenberg, Izak (Sakkie) J. J. "Reading the Bible in post-apartheid South Africa: The contribution of Gerrie Snyman." Old Testament Essays 36, no. 1 (July 13, 2023): 14–40. http://dx.doi.org/10.17159/2312-3621/2023/v36n1a3.

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Modern historical criticism came to South Africa in the third decade of the twentieth century. However, analysing biblical books like human documents was not acceptable to church authorities. The historical-critical study of the Bible thus suffered a blow. It took four decades before some reformed biblical scholars felt at ease to reintroduce historical criticism. However, during the seventh decade of the twentieth century, overseas biblical scholars were already experimenting with the research tools of modern literary studies. Some South African biblical scholars followed suit, and soon narrative criticism and reader-response criticism were part of the package of methods for reading and studying the Bible. Gerrie Snyman was one of them, and reader-response criticism assisted him in reflecting on how he as a white Afrikaans speaking male, can continue doing biblical research in the post-apartheid era. He developed a hermeneutic of vulnerability and argued that readers should take responsibility for their readings of biblical texts.

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Limon, Jerzy. "Waltzing in Arcadia: a Theatrical Dance in Five Dimensions." New Theatre Quarterly 24, no. 3 (August 2008): 222–28. http://dx.doi.org/10.1017/s0266464x08000286.

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Time structures are essential to any analysis of drama or theatre performance, and in this article Jerzy Limon takes the final scene from Tom Stoppard's Arcadia as an example to show that non-semantic systems such as music gain significance in the process of stage semiosis and may denote both space and time. The scene discussed is particularly complex owing to the fact that Stoppard introduces two different time-streams simultaneously in one space. The two couples presented dance to two distinct melodies which are played at two different times, and the author explains how the playwright avoided the confusion and chaos which would have inevitably resulted if the two melodies were played on the stage simultaneously. Jerzy Limon is Professor of English at the English Institute at the University of Gdańsk. His main area of research includes the history of English drama and theatre in the sixteenth and seventeenth centuries, and various theoretical aspects of theatre. His most recent works, published in 2008, include a book on the theory of television theatre, Obroty przestrzeni (Moving Spaces), two chapters in books, and articles in such journals as Theatre Research International, Shakespeare Jahrbuch, Journal of Drama Theory and Criticism, and Cahiers élisabéthains.

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