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Journal articles on the topic 'Raisin in the sun (Hansberry, Lorraine)'

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Published: 4 June 2021

Last updated: 31 July 2024

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1

Alaqeel, Ohood. "A Marxist Reading of Lorraine Hansberry’s a Raisin in the Sun (1959)." Arab World English Journal For Translation and Literary Studies 6, no. 2 (May 24, 2022): 176–88. http://dx.doi.org/10.24093/awejtls/vol6no2.13.

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This article investigates the political and social background of Lorraine Hansberry’s A Raisin in the Sun through the lens of Marxist theory. By asserting the thought that above all her commitments, Hansberry was devoted to the struggle for the progress of the human race. However, she recognized that this struggle had to be made according to the specific terms dictated by the time and country in which one lived. Her actions and writings left little doubt about what kinds of the stand she wanted her fellow humans to take in America in her day. The main question this article investigates is: How does Hansberry who is known to be Marxist in her views on life and art, employ this symbolic play to tackle the social concerns from the standpoint of her ideology? To argue this point from a Marxist point of view, this study pays more attention to Hansberry’s battle with the ideology of the dominant class in the United States and provides many quotes by Hansberry that demonstrate this argument. Consequently, the importance of this article is that it theorizes an alternative account of modernity and attempts to mount an operational critique against modernity and modernization.

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2

RAYMOS, ARIELLE. "Lesbian Identity and “Personal Dishonesty” in Lorraine Hansberry’s “Flowers for the General”." Resources for American Literary Study 43, no. 1-2 (October 1, 2021): 102–29. http://dx.doi.org/10.5325/resoamerlitestud.43.1-2.0102.

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ABSTRACT Misconceptions and myths that surround Hansberry and her most famous play, A Raisin in the Sun (1959), are examined through a close reading of an unpublished play from Lorraine Hansberry’s archived papers, “Flowers for the General” (1955). In this play, Hansberry articulates lesbian identity fully in the character Marcia. The play’s major themes of the importance of upholding sociopolitical beliefs, the possibility of a sustainable lesbian identity, and the commonalities between the lesbian, Jewish, African American, and working-class characters combine to create a significant statement at an early point in Hansberry’s career. Various cultural, social, and political obstacles prevented Hansberry’s writing on sexuality—which anticipates current critical conceptions of female sexuality, same-sex relationships, and homosocial bonds—from being published or staged. However, examination of archival materials such as “Flowers for the General” is a necessary step in expanding the view of Hansberry’s complex and contradictory life and work outside of A Raisin in the Sun.

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3

Pratiwi, Ricka Galuh. "Gender Inequality Portrayed in Hansberry’s A Raisin in The Sun and Hill’s Heart in The Ground." Journal of Literature, Linguistics, & Cultural Studies 2, no. 2 (May 7, 2024): 158–70. http://dx.doi.org/10.18860/lilics.v2i2.3707.

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Gender inequality is the term used to describe how men and women are treated differently. The target individual or group typically suffers or is disadvantaged as a result of inequality. This study's goal is to describe several types of gender inequality as they appear in Mansour Fakih's theory. Aside from that, consider how female characters approach gender inequity. Using data from the dramas A Raisin in the Sun by Lorraine Hansberry and Heart in the Ground by Doughlas Hill, this study adopts a feminist methodology and Mansour Fakih's concept of gender inequality. Literary criticism is the technique employed. Then, information is gathered by reading and documenting information that is pertinent to the theory and research issues. The results obtained from this study are (1) The two dramas each have three types of gender inequality. In Heart in The Ground there are subordination, violence and double burden. Three different types of women's inequality such as subordination, stereotypes, and marginalization are present in Hansberry's second play, A Raisin in the Sun. (2) Four ways to achieve their rights: rebelling, threatening, and talking about it, focusing on their goal.Keywords: Feminism, Gender Inequality, Drama

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4

Luo, Jie. "African American’s Identification in Early Civil Rights Movement." Journal of Education and Educational Research 7, no. 3 (March 17, 2024): 200–202. http://dx.doi.org/10.54097/d5kc5531.

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Lorraine Hansberry is a prestigious African American writer who creates a classical work The raisin in the sun. Under the backdrop of early Civil Rights Movement, the play centers on male protagonist Walter and three other family female members’ identification when living in that white-dominated community. Their identification represents in two ways: merging into the mainstream society and returning to the ancestral culture or even district. The key to identity is one’s value and social behavior. It is imperative and indispensable for one to find his or her self-value in accordance with personal and social backdrop and experience.

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Shih, Yi-chin. "Dance Scenes in Lorraine Hansberry's A RAISIN IN THE SUN." Explicator 72, no. 4 (October 2, 2014): 278–81. http://dx.doi.org/10.1080/00144940.2014.962454.

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6

Chauhan, Parul. "Black women’s quest for identity: A critical Study of Lorraine Hansberry’s play A Raisin in the Sun." International Journal of English Literature and Social Sciences 8, no. 1 (2023): 189–93. http://dx.doi.org/10.22161/ijels.81.22.

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Tracing the history of black feminism, it becomes evident that the social construction of racism, sexism and classism was the driving force behind the widespread violence and discrimination against black women. They are found searching and struggling to attain their identity in this patriarchal world. Black feminist thought leads to certain ideas that clarify a standpoint of and for black women. Black feminist perspectives focus on the social domination on the basis of gender, race and class oppression. These oppressions are densely interwoven into social structures and work collectively to define the history of the lives of Black women in America and other coloured women worldwide. It takes us back to the era of United States slavery during which period, a societal hierarchy was established, according to which White men were supposed to be at the top, White women next, followed by Black men and finally, at the bottom were placed Black women. Black feminists were critical of the view that suggests that black women must identify as either black or women. The present paper looks at Lorraine Hansberry’s play A Raisin in the Sun from a black feminist viewpoint. It discusses position of a woman in male dominated society and her struggle for identity. It unfolds the saga of suffering and silencing of a black woman, which pervades the black women writings. It is depicted that black women have to face the unique challenging task of fighting for black liberation and gender equality simultaneously. The play effectively unthreads the history of African American women’s lives and their quest for identity in African American society. Issues of masculinity and femininity are deeply woven in this play. Women in this play present a microcosm of society; they are treated as second class citizens in society. Hansberry has depicted through her play the superiority that men pose over women. The glimpse of patriarchal dominance is visible throughout the play through different male characters. It further focuses on the value of the individual women’s identity and women’s right and freedom to construct their own separate identities rather than having them imposed against their wishes. It delineates how African American Women try to speak out against oppression and create a sense of individual identity in the face of silence and absence.

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7

Hansberry, Lorraine. "The Scars of the Ghetto." Monthly Review 67, no. 1 (May 3, 2015): 32. http://dx.doi.org/10.14452/mr-067-01-2015-05_3.

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<div class="ed-auth-intro">The article that appears below is reprinted from the February 1965 issue of <span class="no-italics">Monthly Review</span>. Despite her small body of work and short life, Lorraine Hansberry (1930–1965) is considered one of the great African-American dramatists of the twentieth century. Her play <span class="no-italics">A Raisin in the Sun</span> (1959) is required reading, and performed regularly, in high schools and colleges nationwide, as well as on Broadway and London's West End. Hansberry's association with the left, and especially with <span class="no-italics">Monthly Review</span>, began in her teenage years. When she moved to New York, she became good friends with Leo Huberman and Paul M. Sweezy. In spring 1964, although terminally ill with pancreatic cancer, she left her hospital bed to speak at a benefit for Monthly Review Press; her speech appeared posthumously as the article below.</div><p class="mrlink"><p class="mrpurchaselink"><a href="http://monthlyreview.org/index/volume-67-number-1" title="Vol. 67, No. 1: May 2015" target="_self">Click here to purchase a PDF version of this article at the <em>Monthly Review</em> website.</a></p>

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8

Neupane, Dipesh. "Racial and Cultural Tension in Lorraine Hansberry’s A Raisin in the Sun." Cognition 4, no. 1 (January 31, 2022): 16–20. http://dx.doi.org/10.3126/cognition.v4i1.46438.

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The culture in which we are brought up shapes our traits and identity. When people move from one place to another, they get acquainted with new cultures. Then, they vacillate on the conflicting modes of dilemma – whether to follow the new culture or not. Cultural conflict arises when people cannot discard the original culture they carry from their birth. This paper explores how an African-American family confronts racial discrimination and culture clash in America, and how they react against the racial injustice. The voices that African-America people raise against racial discrimination and segregation are overtly or covertly represented in the African-American literature, as in the play- “A Raisin in the Sun”. This study explores the conflict between American culture and African culture in the play conceptualizing the theoretical frame work of cultural studies developed by Geert Hofstede and Edward Hall. This study answers the question: how does the African-American family (Younger family) confront the culture clash, and combat against racial discrimination in the play? The conflict between the Younger family and the white representative indicates the racial and culture clash between the African and the America culture as dramatized in the play.

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Aakash Sharma. "The Generational Question in A Raisin in the Sun: A Critical Analysis." Creative Saplings 1, no. 11 (February 25, 2023): 21–31. http://dx.doi.org/10.56062/gtrs.2023.1.11.210.

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One of the seminal works in the African American body of theatre, Lorraine Hansberry’s A Raisin in the Sun accurately represents the experiences of African American life in urban centres of the US when segregation was in its last stages. Its portrayal of the black community’s repression is realistic in the themes of limited opportunities and acute poverty. This paper focuses on Hansberry’s accurate rendering of black culture and society in the play and how she penetrates the deception and hypocrisy of segregation that eroded the Black community's confidence in American society (and dream). The paper also attempts to answer the generational question that the younger family in the play faces through the prospect of social mobility. It traces the family’s social and economic journey and explores the possibilities of future Youngers’ escape from ghosts of the past and new harsh realities. The play’s conclusion, with Walter declining the offer to sell the new house, was the Youngers’ resistance to oppression and inequality. It also initiated a new social struggle as the family sought social mobility to live in the new setting.

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10

King, Eric S. "African Americans and the Crisis of Modernity." Ethnic Studies Review 41, no. 1-2 (2018): 53–60. http://dx.doi.org/10.1525/esr.2018.411207.

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This article examines Lorraine Hansberry’s play A Raisin in the Sun by exploring the conflict between a traditionally Southern, Afro-Christian, communitarian worldview and certain more destabilizing elements of the worldview of modernity. In addition to examining the socio-economic problems confronted by some African Americans in the play, this article investigates the worldviews by which these Black people frame their problems as well as the dynamics within the relationships of a Black family that lives at the intersection of racial, class, and gender inequality in Chicago during the latter 1950s.

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Kiser, Kelsey. "The Domestic Sphere as Counter-Surveillance in Lorraine Hansberry’s A Raisin in the Sun." Modern Drama 63, no. 4 (December 2020): 435–54. http://dx.doi.org/10.3138/md.63.4.1069.

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Matthews, Kristin L. "The Politics of “Home” in Lorraine Hansberry’s A Raisin in the Sun." Modern Drama 51, no. 4 (2008): 556–78. http://dx.doi.org/10.1353/mdr.0.0077.

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Haj, Sumaya. "The (Ir)Representability of the Belated Traumatic Wound in Lorraine Hansberry’s A Raisin in the Sun." Journal of Black Studies 53, no. 1 (October 25, 2021): 45–59. http://dx.doi.org/10.1177/00219347211047877.

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The dissociation of the traumatic moment from memory makes articulating the traumatic experience problematic. Henceforth, trauma becomes an inexplicable wound that can be narrated in a myriad of ways, yet none of which has a closure. The traumatized subjects are in need for expressing their pain, especially that telling one’s story and finding witnesses to the experience is therapeutic in the case of trauma. Thus, writers strive to represent their personal trauma and/or their collective one through various techniques to convey the experience as authentically as possible. Lorraine Hansberry’s A Raisin in the Sun is a remarkable endeavor to articulate the author’s own traumatic childhood experience, as well as the broader trauma of African American people who have suffered so long because of slavery and its aftermath. This paper argues that Hansberry’s A Raisin addresses trauma and represents it through four major techniques: the choice of drama as a genre, the mode of genuine realism, intertextuality, and symbolism. To realize this purpose, the study explores the play in light of the theoretical framework of trauma studies, starting from its outset with Freud’s essential concepts, and moving to Cathy Caruth’s and Shoshana Felman’s integral contributions to the field.

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14

Vingoe, Mary. "In Pursuit of Process: Reflections on Directing for Canadian Theatre." Canadian Theatre Review 97 (December 1998): 31–35. http://dx.doi.org/10.3138/ctr.97.006.

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At the age of ten I was taken to New York’s Central Park to see a production of Lorraine Hansberry’s A Raisin in the Sun, the story of a Black family in Chicago who move into a ‘Whites only’ neighbourhood. I was absolutely spellbound. Up to that point theatre had meant Cinderella at Neptune or Baker Street on Broadway. All at once I was seeing theatre that was immediate, provocative and relevant to the here and now. My mother said my eyes were popping out of my head all through the show. Today I continue to seek out theatre that is provocative and meaningful, theatre that emanates from a strong sense of place.

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15

Kennon, Raquel. "“Africa Claiming Her Own”: Unveiling Natural Hair and African Diasporic Identity in Lorraine Hansberry’s Unabridged A Raisin in the Sun." Modern Drama 64, no. 3 (August 1, 2021): 283–308. http://dx.doi.org/10.3138/md-64-3-1120.

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In the phantasmagoric performance that begins the second act of Lorraine Hansberry’s classic A Raisin in the Sun (1959), Beneatha Younger emerges with a short “close-cropped” natural style after cutting off her straightened hair offstage. Although this is a seemingly minor theatrical moment, hair in this scene and Hansberry’s work and life serves as a powerful dramatic signifier, a political tool for self-understanding and liberation, and a cultural bridge between African and African diasporic identity. Drawing from archival material concerning the original 1957 playscript, Tracy Heather Strain’s 2017 documentary Sighted Eyes/Feeling Hands, and recent scholarship, this article examines how Beneatha asserts her own body politics and corporeal scripting in her interactions with two romantic prospects, Joseph Asagai and George Murchison, to argue that her relationship with each suitor represents the complicated ways she wrestles with the meaning of the African diaspora. By embracing her natural hair and making deliberate aesthetic self-fashioning choices, Beneatha reclaims an ancestral African identity and cultivates a global Black consciousness that ultimately exceeds specific performances of dress, dance, and hair.

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Čerče, Danica. "Race and politics in the twentieth-century Black American play: Lorraine Hansberry’s A Raisin in the Sun." Neohelicon 46, no. 1 (October 3, 2018): 227–39. http://dx.doi.org/10.1007/s11059-018-0464-7.

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17

Tritt, Michael. "A View from the Stockyards: Lorraine Hansberry's Allusion toThe Junglein the Unfilmed Screenplay ofA Raisin in the Sun." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 21, no. 1 (January 2008): 51–57. http://dx.doi.org/10.3200/anqq.21.1.51-57.

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18

Murray, William. "The Roof of a Southern Home: A Reimagined and Usable South in Lorraine Hansberry’s A Raisin in the Sun." Mississippi Quarterly 68, no. 1-2 (2015): 277–93. http://dx.doi.org/10.1353/mss.2015.0033.

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Jakubiak, Katarzyna. "The Black Body in Translation: Polish Productions of Lorraine Hansberry's A Raisin in the Sun in the 1960s." Theatre Journal 63, no. 4 (2011): 541–69. http://dx.doi.org/10.1353/tj.2011.0113.

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Suliman, Amer Hamed. "Staging Urbanism: A Study of City Life in Selected American Plays." JOURNAL OF LANGUAGE STUDIES 6, no. 1 (December 20, 2022): 337–48. http://dx.doi.org/10.25130/jls.6.1.20.

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The mid-20th century saw many American playwrights explore the realities of city life to powerful effect. Plays that emerged during this time paint an interesting picture of urban America as a paradoxical place of endless opportunity and limited resources. The characters of this setting have the dramatic potential to be uniquely tragic, often attracted to cities by promises of economic freedom only to be destroyed by the tough and competitive nature of urban life. The study aims at constructing a contextual reference framework within which Tennessee Williams’ A Streetcar Named Desire, Arthur Laurents’ West Side Story, and Lorraine Hansberry’s A Raisin in the Sun are analyzed to explore how the stressful environments of the city shaped life for different groups of urban residents. This study employs a textual analysis method to investigate how these three iconic plays of the mid-20th century create the tragic and tumultuous setting of the American city. By analyzing selections of dialogue from each play, the influence of city life on the words and actions of characters in each play will be shown to be instrumental in conjuring the hectic and often desperate realities of urban life in mid-20th century America.

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Chapman, Erin D. "Staging Gendered Radicalism at the Height of the US Cold War: A Raisin in the Sun and Lorraine Hansberry's Vision of Freedom." Gender & History 29, no. 2 (July 12, 2017): 446–67. http://dx.doi.org/10.1111/1468-0424.12296.

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22

Hee-Won Lee. "From (Black) American Drama to Women’s Literature: Deconstructing the Canonization of Lorraine Hansberry’s A Raisin in the Sun and Finding the Hidden Picture." Feminist Studies in English Literature 22, no. 2 (September 2014): 205–41. http://dx.doi.org/10.15796/fsel.2014.22.2.008.

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Nuriadi, Nuriadi, and Boniesta Melani. "Dreams in Lorraine Hansberry’s Play A Raisin in the Sun: How Do Dreams Signify Black Americans’ Lives during the Civil Rights Movement Era?" International Journal of Literary Humanities 21, no. 1 (2023): 127–43. http://dx.doi.org/10.18848/2327-7912/cgp/v21i01/127-143.

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Oliveira, N. F., and M. Medeiros. "Is It all About Money? Women Characters and Family Bonds in Lorraine Hansberry’s A Raisin in the Sun and Toni Morrison’s Song of Solomon." Revista Scripta Uniandrade 13, no. 2 (December 30, 2015): 151–63. http://dx.doi.org/10.18305/1679-5520/scripta.uniandrade.v13n2p151-163.

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Harris, Trudier. "Christianity’s Last Stand: Visions of Spirituality in Post-1970 African American Women’s Literature." Religions 11, no. 7 (July 18, 2020): 369. http://dx.doi.org/10.3390/rel11070369.

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Christianity appealed to writers of African descent from the moment they set foot on New World soil. That attraction, perhaps as a result of the professed mission of slaveholders to “Christianize the heathen African,” held sway in African American letters well into the twentieth century. While African American male writers joined their female counterparts in expressing an attraction to Christianity, black women writers, beginning in the mid-twentieth century, consistently began to express doubts about the assumed altruistic nature of a religion that had been used as justification for enslaving their ancestors. Lorraine Hansberry’s Beneatha Younger in A Raisin in the Sun (1959) initiated a questioning mode in relation to Christianity that continues into the present day. It was especially after 1970 that black women writers turned their attention to other ways of knowing, other kinds of spirituality, other ways of being in the world. Consequently, they enable their characters to find divinity within themselves or within communities of extra-natural individuals of which they are a part, such as vampires. As this questioning and re-conceptualization of spirituality and divinity continue into the twenty-first century, African American women writers make it clear that their characters, in pushing against traditional renderings of religion and spirituality, envision worlds that their contemporary historical counterparts cannot begin to imagine.

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Plum, Jay. "Accounting for the Audience in Historical Reconstruction: Martin Jones's Production of Langston Hughes's Mulatto." Theatre Survey 36, no. 1 (May 1995): 5–19. http://dx.doi.org/10.1017/s0040557400006451.

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Although Langston Hughes's Mulatto holds the record as the second longest Broadway production of a play by an African American playwright (surpassed only by Lorraine Hansberry's A Raisin in the Sun), the reasons behind its commercial success have been virtually ignored. This oversight in part reflects a tendency among theatre scholars to treat the dramatic text as the primary (if not the only) source of a play's meaning. In the case of Mulatto, academic critics have debated its literary merit according to questions of form and genre. Webster Smalley, in his introduction to the collected plays of Langston Hughes, for instance, defends Mulatto as a tragedy, arguing that the play avoids the tendency of social dramas of the 1930s “to oversimplify moral issues as in melodrama” because of the recognition of Bert's “tragic situation” (he must kill himself or be killed by an angry lynch mob). For those critics who insist that Mulatto is melodramatic, Smalley advises, “let [them] look to the racial situation in the deep South as it is even today [i.e., 1963]: it is melodramatic.” Smalley presupposes a dichotomous relationship between fiction and reality, advancing a mimetic theory in which representation directly corresponds to the real. Rather than answering specific charges, he defines contemporary race relations as melodrama, implying that Mulatto, even if melodramatic, is “natural” and “accurate.”

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Matthews, Kristin L. "The Politics of “Home” in Lorraine Hansberry'sA Raisin in the Sun." Modern Drama 51, no. 4 (December 2008): 556–78. http://dx.doi.org/10.3138/md.51.4.556.

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Bernstein, Robin. "Inventing a Fishbowl: White Supremacy and the Critical Reception of Lorraine Hansberry'sA Raisin in the Sun." Modern Drama 42, no. 1 (March 1999): 16–27. http://dx.doi.org/10.3138/md.42.1.16.

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DAVIES, TOM ADAM. "The Economics of the Black Freedom Struggle." Journal of American Studies 49, no. 3 (July 2, 2015): 615–20. http://dx.doi.org/10.1017/s0021875815000705.

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Mama Younger: Son, how come you talk so much ’bout money?Walter Lee Younger: Because it is life, Mama!Mama Younger: Oh. So now it's life. Once upon a time freedom used to be life – now It's money. I guess the world really do change.Walter Lee Younger: No – it was always money, Mama. We just didn't know about it.Lorraine Hansberry, A Raisin in the Sun (New York: Random House, 1958), 74 The disproportionate impact of the 2008 subprime mortgage crisis and subsequent economic recession on black families in the United States has helped to revive a long-standing debate about the relationship between race, inequality and the political and economic structures of American capitalist society. The seemingly unmistakable, and increasing, correlation between race and poverty in America has led many to challenge the powerful and pervasive idea – central to the colour-blind conservatism espoused by many on the American right – that the nation's problem of racial discrimination was overcome with the passage of civil and voting rights legislation in the mid-1960s. As part of this process, historians have begun increasingly to reconsider the place of economic questions, principles and aspirations in African American and other minority groups' struggles against racial inequality. Although these three books are very different in form, content, and scope, they each reflect the growing importance of this line of inquiry within the historiography.

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Moran, James. "Boucicault-O’Casey-Hansberry: Tracing a Line of Influence." Nineteenth Century Theatre and Film, September 21, 2022, 174837272211150. http://dx.doi.org/10.1177/17483727221115038.

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In 1959, Lorraine Hansberry's play A Raisin in the Sun opened on Broadway after a successful tour. This remarkable performance featured a black cast, and staged a generation that was beginning to find intellectual sources of race pride. By contrast, exactly 100 years earlier, in 1859, the ‘great dramatic “sensation”’ of the New York stage had been Dion Boucicault's The Octoroon, a play set on a plantation and which describes blackness as shameful. In form and in subject matter, these two plays appear to have little in common, but this essay traces a connection between the two. The connection is this: the Irish playwright Sean O’Casey felt inspired by reading and performing the work of Boucicault, and, in turn, O’Casey provided a ‘point of departure’ for Hansberry when she scripted her best-known play. By examining these moments of connection, the essay examines a significant if counter-intuitive line of influence.

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Bo, CUI. "Construct of Racial Cultural Identity in Dramatic “Reversal”." International Journal of Science and Engineering Applications, October 25, 2022, 194–97. http://dx.doi.org/10.7753/ijsea1111.1014.

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Aristotle expounds in his Poetics the function of “reversal” in producing twists and turns of drama plot. The expounding is however confined to its formal function. In the tragicomedy “A Raisin in the Sun”, the playwright Lorraine Hansberry breaks through the confinement and employs creatively “reversal” as a link to connect the “explicit” plot with the “implicit” cultural context. Hansberry uses the main characters’ reversal of fate in the explicit plot to bring forth the value narrative in the implicit cultural context. Reversal urges the characters to forsake the values of white oppressors and to reclaim the root of African American culture so that they are on the right track to construct their racial cultural identity.

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32

"The Woman as "the Other" in Glaspell's Trifles, Hansberry's A Raisin in the Sun and Kane's Blasted." International Journal of Arabic-English Studies 20, no. 2 (July 3, 2020). http://dx.doi.org/10.33806/ijaes2000.20.2.9.

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According to de Beauvoir, gender roles in society are in binary opposition: men are "the One", the absolute and essential, while the women are "the Other", the accidental and inferior. This concept of Otherness is clearly present in various elements of modern plays written by female playwrights in the twentieth century. This notion has been traced back in Susan Glaspell's Trifles through the play's setting and atmosphere, as well as the characters' understanding of "justice". For A Raisin in the Sun by the African American playwright Lorraine Hansberry, women experience the inferiority of being both women and black. Sarah Kane's Blasted, being an example of In-Yer-Face theatre, depicts the emotional and physical abuse of women in (post-) war societies through its harsh and brutal visualization of different forms of violence. By comparing these three different plays, it appears that there is a tendency emerging towards universalism, the "Other" is the experience of all women, at all times which is evident as the selected plays belong to different cultures across the twentieth century.

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Alaqeel, Ohood Alaqeel. "A Marxist Reading of Lorraine Hansberry’s a Raisin in the Sun (1959)." SSRN Electronic Journal, 2022. http://dx.doi.org/10.2139/ssrn.4131905.

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34

Ghani, Hana' Khalief. "I Have a Dream —Racial Discrimination in Lorraine Hansberry's A Raisin in the Sun." Theory and Practice in Language Studies 1, no. 6 (June 1, 2011). http://dx.doi.org/10.4304/tpls.1.6.607-614.

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LI, Yun-Xia, and Hai-Yan LIU. "Africa as a Metaphor: Lorraine Hansberry’s African Writing in A Raisin in the Sun." DEStech Transactions on Social Science, Education and Human Science, icss (May 9, 2017). http://dx.doi.org/10.12783/dtssehs/icss2016/9157.

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Ahouangansi, Sènankpon Raoul. "RACIAL IDENTITY, CLASS STRUGGLE AND GENERATION GAP WITHIN A BLACK-AMERICAN FAMILY AS SEEN THROUGH A RAISIN IN THE SUN BY LORRAINE HANSBERRY." European Journal of Literary Studies 3, no. 2 (August 4, 2022). http://dx.doi.org/10.46827/ejls.v3i2.351.

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<p>Dealing with democratic rights and equality when the civil rights movement was at its earlier stages, <em>A raisin in the Sun</em> analyzes the context, assesses reality and shapes the life the author observes among Americans in their different socio-economic and even political steps of life. Mainly about how the Walter family will spend a ten-thousand-dollar insurance payment after its patriarch’s death and about whether the family will move into an affordable new home in a hostile white neighborhood, the play relocates both blacks and whites in their responsibilities. In a vivid environment of conflicting interests where race is a place, white is right and money makes and defines the man, this article explains the powerlessness of black people to control their own fate or that of their families as opposed to privileged white Americans, under the lenses of New Criticism as a scientific lead, in a capitalist America.</p><p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0333/a.php" alt="Hit counter" /></p>

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Ghani, Hana' Khalief. "I was Born Black and Female: A Womanist Reading of Lorraine Hansberry‘s A Raisin in the Sun." Theory and Practice in Language Studies 1, no. 10 (October 1, 2011). http://dx.doi.org/10.4304/tpls.1.10.1295-1303.

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Bilger, Alice. "City Limits." FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts, no. 28 (June 28, 2019). http://dx.doi.org/10.2218/forum.28.3045.

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This essay explores the idea of city limits, real and metaphorical walls, and boundaries raised within and around the urban environment. The focus is on American urban epicentres, and by analysing two literary works, John Fante’s Los Angeles novel Ask the Dust and Lorraine Hansberry’s Chicago play A Raisin in the Sun, it interrogates what form the walls within those spaces might take, why they are raised, and what effects they have on the city’s inhabitants – especially the marginalised groups who tend to be either excluded, restricted or enclosed by them. In this essay, I suggest that boundaries are created or enforced as a result of a fear of loss of space and power within the urban environment which leads to the consistent marginalisation of the Other as exhibited in both texts. In other words, the essay will demonstrate that the physical and fiscal boundaries represented in the novel and play are masking a more complex set of boundaries of racial exclusion and hierarchies in place within the American urban space.

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Peterson, Dave. "‘It isn’t desolate because you are here’: Lorraine Hansberry’s comedy in Raisin in the Sun and ‘The Arrival of Mr. Todog’." Comedy Studies, December 7, 2023, 1–13. http://dx.doi.org/10.1080/2040610x.2023.2290810.

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"The Representation of American Dream in Lorrain Hansberry’s A Raisin in the Sun." International Journal on Humanities and Social Sciences 28 (December 28, 2021). http://dx.doi.org/10.33193/ijohss.28.2021.354.

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