No description available.

No other population has contributed more to American society and received so little in return."1 Until recently the Mexican-Americans had remained quietly in the background, apparently accepting their station in life with little or no desire to improve it--a "sleeping giant," as some politicians have called this politically potential group. Statistics show that relatively few Mexican-Americans have become acculturated and assimilated into Anglo-American society (See page 9). The great majority have retained their Spanish language and their family traditions, and have remained more or less static in their economic position and isolated from the mainstream of life in the United States. While most ethnically differentiated groups in United States have used the educational system as a "major vehicle for social mobility," Mexican-Americana either have not taken full advantage of the opportunity, or it has been inaccessible to them.

No description available.

No description available.

No description available.

Although Amanda Wingfield, Blanche DuBois, and Maggie Pollitt are examined frequently in scholarship on Tennessee Williams's plays, many critics assume that the three women's Southern femininity translates to fragility and that their nostalgia for the Confederate past constitutes delusion. Distancing our perceptions of the three women from the common connotations of Southern femininity--frailty, selflessness, and domesticity—and leaning into the more disagreeable facets of Lost Cause nostalgia reveals the classist and racist ideologies that motivate their quests for upstanding Southern aristocratic lives. Critics have been slow to read Amanda, Blanche, and Maggie as rational socioeconomic actors, but this reading emphasizes the three women's socioeconomic desires, thus de-romanticizing Southern femininity and expounding on its problematic ideological positionalities. Blanche DuBois, Amanda Wingfield, and Maggie Pollitt have been evaluated in terms of their "monstrous" femininity. However, they become less monstrous and more familiar when we recognize the clear race- and class-based motivations for clinging so fiercely to their Southern identities. When we assume that their Southernness is defined by their literal proximity from and ideological relationships to ethnic and racial Others and people from lower socioeconomic classes, their motivations lose some of their critical abstraction and gain a new level of complexity. / Master of Arts / Tennessee Williams is known for crafting complex female protagonists in his dramas. Although Amanda Wingfield of The Glass Menagerie, Blanche DuBois of A Streetcar Named Desire, and Maggie Pollitt of Cat on a Hot Tin Roof are examined frequently in scholarship on Tennessee Williams's plays, many critics assume that the three women's Southern femininity stems from inherent fragility and that their nostalgia for the Confederate past constitutes mental instability. Reorienting our perceptions of these women away from the common connotations of Southern femininity--frailty, selflessness, and domesticity—and leaning into the more disagreeable facets of Lost Cause nostalgia reveals the classist and racist ideologies that motivate the three women's quests for upstanding Southern aristocratic lives. Critics have been slow to read Amanda, Blanche, and Maggie as rational socioeconomic actors, but this reading emphasizes the three women's socioeconomic desires, thus de-romanticizing Southern femininity and expounding on its problematic ideological positionalities—namely, extreme racism and classism. Although Blanche DuBois, Amanda Wingfield, and Maggie Pollitt have been evaluated previously in terms of their "monstrous" femininity, they become less monstrous and more familiar when we recognize the clear race- and class-based motivations for clinging so fiercely to their Southern identities. When we assume that their Southernness is defined by their literal proximity from and ideological relationships to ethnic and racial Others and people from lower socioeconomic classes, their motivations become more tangible, more complex—and more menacing.

This dissertation offers an analysis of the image of loss in modern American drama at three levels: the loss of physical space, loss of psychological space, and loss of moral space. The playwrights and plays examined are Tennessee Williams's The Glass Menagerie (1945), Arthur Miller's Death of a Salesman (1949), Marsha Norman's 'night, Mother (1983), and Paula Vogel's How I Learned to Drive (1998). This study is the first scholarly work to discuss the theme of loss with these specific playwrights and works. This dissertation argues that loss is a central trope in twentieth-century American drama. The purpose of this dissertation is to analyze how the image of loss is modified and transformed in each playwright's work leading these images to reveal an emotional truth that transcends the plight of particular individuals or families and casting a universal appeal to a diverse audience. Chapters examine specific themes related to the theme of loss. As part of the critical methodology, the live spectacle of performance has been acknowledged. This study analyzes how Williams, Miller, Norman, and Vogel modify and transform the image of loss by focusing on the myth of the American dream, illusion versus reality, empowerment, and the complexity of human relationships. Although these plays are meant first and foremost to be appreciated as theater, that is to say "live performance," this study deals with these plays as drama, that is, as written texts. The audience observing the "live" spectacle and the reader of the text are both challenged to define their "own space." Williams, Miller, Norman, and Vogel, modify and transform the image of loss to reveal a common humanity that is not only a force in their work, but also a strong presence in the works of American dramatists as diverse as Eugene O'Neill and Adrienne Kennedy. From domestic drama to the drama of social and political criticism, Williams, Miller, Norman, and Vogel along with a medley of American playwrights, have taken the genre of American drama from backseat status (secondary to the novel and poem) into the forefront of recognized American literature.

A travers une étude interculturelle détaillée et comparée de la production théâtrale minoritaire canadienne et américaine, ma thèse cherche à mettre en lumière les les apports thématiques et esthétiques du théâtre multi-ethnicque nord-américain contemporain à la tradition anglo-américaine du 20ème siècle. Les communautés asiatiques, africaines et aborigènes sont retenues comme poste d'observation privilégié de l'expression esthétique de la condition multiculturelle postcoloniale dans le théâtre nord-américain de la période allant de 1972 à nos jours. Sur base d'un corpus de pièces de théâtre, ma recherche m'a permis de redéfinir les grandes articulations des notions d'hybridité, d'identité et de communauté/nation postcoloniale. Through a detailed cross-cultural approach of the English Canadian and American minority theatrical production, my thesis aims to identify the thematic and aesthetic contributions of multi-ethnic North American drama to the Anglo-American tradition of the 20th century. My study examines North American drama from the vantage points of African, Asian, and Native communities from 1972 until today. Relying on a number of case studies, my research opened up new avenues for rethinking the notions of hybridity and identity in relation to the postcolonial community/nation.

Not available / text

No description available.