Aquest llibre explora l'estètica de LeRoi Jones / Amiri Baraka des dels seus primers dies com poeta 'beat' fins a l'actualitat. Baraka ha estat considerat com el poeta rebel, el que sempre ataca la política, denuncia l'abús de poder i les errònies polítiques administratives dels Estats Units. Aquest volum examina alguns dels més importants assajos i obres de ficció, amb l'objectiu de clarificar la importància en el desenvolupament de l'obra de Baraka.

The Routledge Companion to African American Theatre and Performance is an outstanding collection of specially written essays that charts the emergence, development, and diversity of African American Theatre and Performance—from the nineteenth-century African Grove Theatre to Afrofuturism. Alongside chapters from scholars are contributions from theatre makers, including producers, theatre managers, choreographers, directors, designers, and critics. This ambitious Companion includes: A "Timeline of African American theatre and performance." Part I "Seeing ourselves onstage" explores the important experience of Black theatrical self-representation. Analyses of diverse topics including historical dramas, Broadway musicals, and experimental theatre allow readers to discover expansive articulations of Blackness. Part II "Institution building" highlights institutions that have nurtured Black people both on stage and behind the scenes. Topics include Historically Black Colleges and Universities (HBCUs), festivals, and black actor training. Part III "Theatre and social change" surveys key moments when Black people harnessed the power of theatre to affirm community realities and posit new representations for themselves and the nation as a whole. Topics include Du Bois and African Muslims, women of the Black Arts Movement, Afro-Latinx theatre, youth theatre, and operatic sustenance for an Afro future. Part IV "Expanding the traditional stage" examines Black performance traditions that privilege Black worldviews, sense-making, rituals, and innovation in everyday life. This section explores performances that prefer the space of the kitchen, classroom, club, or field. This book engages a wide audience of scholars, students, and theatre practitioners with its unprecedented breadth. More than anything, these invaluable insights not only offer a window onto the processes of producing work, but also the labour and economic issues that have shaped and enabled African American theatre. Chapter 20 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

Sylvia Plath es una de las poetas más conocidas y controvertidas del siglo XX. Desde su muerte en 1963, el debate crítico sobre su obra ha sido animado y, en ocasiones, incluso hostil. Esta obra ilustra cómo leer a Plath desde una perspectiva alternativa, utilizando la teoría de Julia Kristeva sobre el lenguaje político, y que permite una apreciación de los poemas que va más allá de lo biográfico al hacer énfasis, en cambio, en los textos; de ese modo, se engrana con la primera persona como una herramienta heurística compleja e inestable. Al explorar los poemas en términos de su trascendencia en lugar de centrarse exclusivamente en su significado explora la manera en la que la obra de Plath produce una crisis de subjetividad oratoria y, a partir de ahí, emerge la naturaleza «revolucionaria» de la voz poética.

Centrat en les obres de Kate Chopin, Elizabeth Madox Roberts, Zora Neale Hurston, Lillian Smith, Eudora Welty, Alice Walker, Llegix Smith, Jill McCorkle i Bobbie Ann Mason, aquest llibre analitza el retrat ambivalent de l'espai domèstic descrit per les escriptores del sud. Les qüestions més profundes de gènere, raça i classe en una societat tradicional com la del sud americà es manifesten precisament dins l'esfera domèstica, on l'espai és sovint un mitjà crucial de dominació. Les escriptores contemporànies del sud sovint han utilitzat la transformació de la llar i els seus significats com una nova font per a la ficció. Han estat explorant formes noves i antigues d'imaginar el que podria ser una llar i la seva narrativa diu molt de la manera en la qual el treball, els llocs i la família contribueixen a la creació d'un altre en el sud contemporani.

This volume brings forward a descriptive approach to the translation and reception of African American women’s literature in Spain. Drawing from a multidisciplinary theoretical and methodological framework, it traces the translation history of literature produced by African American women, seeking to uncover changing strategies in translation policies as well as shifts in interests in the target context, and it examines the topicality of this cohort of authors as frames of reference for Spanish critics and reviewers. Likewise, the reception of the source literature in the Spanish context is described by reconstructing the values that underlie judgements in different reception sources. Finally, this book addresses the specific problem of the translation of Black English into Spanish. More precisely, it pays attention to the ideological and the ethical implications of translation choices and the effect of the latter on the reception of literary texts.

Durante los años sesenta y setenta aparece cierto interés en el fenómeno de las personas blancas que se comportan como indios o nativos, así como un nuevo entusiasmo por desafiar la tradición Cooperiana de cruzar las líneas del color en narraciones aparentemente no racistas. Este libro analiza cómo el «patio de recreo intelectual» proporciona biografías postcoloniales de «personajes tan escurridizos» como Sir William Johnson, Mary Jemison, May Dodd, y Archie Belaney/Grey Owl, o de otros ficticios como Jack Crabb y Jeremy Sadness. Los textos analizados aquí plantean cuestiones relacionadas con la construcción de la identidad, el parentesco ficticio y el etnicidad simbólica, las motivaciones y los impulsos que subyacen al comportamiento/juego de ser «otro», así como los procesos e implicaciones de la transculturación y de la epistemología de las relaciones de raza.

Acclaimed by many as one of the most gifted essayists and stylists in American letters these last few decades, Richard Rodriguez has left an indelible imprint on the tradition of autobiographical writing of the nation. Rodeño’s study of the four installments of Rodriguez’s self-writing offers an insightful and perspicacious analysis of the evolution and the most controversial elements in this Chicano writer’s production so far. Delving deeply into issues of racial and ethnic identity, sexual orientation, religious background, various types of hybridity, and different forms of socio-cultural adaptation, this book presents all kinds of incisive observations about the contested space(s) that “minority” self-writers are often pushed to occupy in the American tradition of the genre.