Dixon's translation of Fabre's Le Theatre Noir Aux Etats-Unis assesses contemporary black theatre since 1945. Placing it in historical and cultural context as a platform for political statement, Fabre isolates two emerging strains: the militant theater of protest and the ethnic theater of black experience. She provides examples and analyzes obscure as well as well-known plays by militant writers such as Amiri Baraka, Douglas Turner Ward, Ted Shine, Ben Caldwell and Sonia Sanchez, who examine relations between blacks and whites and tell stories of victims, rebels and traitors and of rituals of vengeance. She also examines the theater of black experience embracing the rituals of daily life, the liturgy of the black church, traditional music and folklore, and the works of James Baldwin, Melvin Van Peeples, Ed Bullins and Edgar White, and predicts the future of black theater in the United States. ISBN 0-674-21678-4 : $20.00.

The aim of the present bibliography is to provide the student of metaphor with an up-to-date and comprehensive (albeit not exhaustive) overview of recent publications dealing with various aspects of metaphor in a variety of disciplines. Where the emphasis is primarily on specific works “about” metaphor, mainly in philosophy, linguistics, and psychology, the list has been supplemented with references to studies where metaphor is explicitly recognized as an instrument of research or analysis (e.g., in literature, or in the elaboration of scientific and religious models) or where its use is illustrated.

Examining in detail the dramas of Baraka, Soyinka, Walcott and Shange, this study describes how these black writers are preoccupied with the invention of a postimperial cultural identity. It charts the foundations of an important aesthetic form, the drama of the African diaspora.

Performing Blackness offers a challenging interpretation of black cultural expression since the Black Arts Movement of the 1960s. Exploring drama, music, poetry, sermons, and criticism, Benston offers an exciting meditation on modern black performance's role in realising African-American aspirations for autonomy and authority. Artists covered include: * John Coltrane * Ntozake Shange * Ed Bullins * Amiri Baraka * Adrienne Kennedy * Michael Harper. Performing Blackness is an exciting contribution to the ongoing debate about the vitality and importance of black culture.

Amiri Baraka, formerly known as LeRoi Jones, became known as one of the most militant, anti-white black nationalists of the 1960s Black Power movement. An advocate of Black Cultural Nationalism, Baraka supported the rejection of all things white and western. He helped found and direct the influential Black Arts movement which sought to move black writers away from western aesthetic sensibilities and toward a more complete embrace of the black world. Except perhaps for James Baldwin, no single figure has had more of an impact on black intellectual and artistic life during the last forty years. In this groundbreaking and comprehensive study, the first to interweave Baraka's art and political activities, Jerry Watts takes us from his early immersion in the New York scene through the most dynamic period in the life and work of this controversial figure. Watts situates Baraka within the various worlds through which he travelled including Beat Bohemia, Marxist-Leninism, and Black Nationalism. In the process, he convincingly demonstrates how the 25 years between Baraka's emergence in 1960 and his continued influence in the mid-1980s can also be read as a general commentary on the condition of black intellectuals during the same time. Continually using Baraka as the focal point for a broader analysis, Watts illustrates the link between Baraka's life and the lives of other black writers trying to realize their artistic ambitions, and contrasts him with other key political intellectuals of the time. In a chapter sure to prove controversial, Watts links Baraka's famous misogyny to an attempt to bury his own homosexual past. A work of extraordinary breadth, Amira Baraka is a powerful portrait of one man's lifework and the pivotal time it represents in African-American history. Informed by a wealth of original research, it fills a crucial gap in the lively literature on black thought and history and will continue to be a touchstone work for some time to come.

This is an annotated bibliography of 20th century books through 1983, and is a reworking of American Studies: An Annotated Bibliography of Works on the Civilization of the United States, published in 1982. Seeking to provide foreign nationals with a comprehensive and authoritative list of sources of information concerning America, it focuses on books that have an important cultural framework, and does not include those which are primarily theoretical or methodological. It is organized in 11 sections: anthropology and folklore; art and architecture; history; literature; music; political science; popular culture; psychology; religion; science/technology/medicine; and sociology. Each section contains a preface introducing the reader to basic bibliographic resources in that discipline and paragraph-length, non-evaluative annotations. Includes author, title, and subject indexes. ISBN 0-521-32555-2 (set) : $150.00.

Harlem in the 1920s and '30s was the epicenter of a flourishing in African-American literature with the poetry and prose of Langston Hughes, Zora Neale Hurston, Gwendolyn Brooks, and Claude McKay, to name a few. This volume examines the defining themes and styles of African-American literature during this period, which laid the groundwork for contemporary African-American writers.

Focusing on dramatic works by contemporary British and American playwrights, in conjunction with feminist political and theoretical texts, this book discusses feminist constructions of the category "Woman".

Generating a new understanding of the past—as well as a vision for the future—this path-breaking volume contains essays written by playwrights, scholars, and critics that analyze African American theatre as it is practiced today.Even as they acknowledge that Black experience is not monolithic, these contributors argue provocatively and persuasively for a Black consciousness that creates a culturally specific theatre. This theatre, rooted in an African mythos, offers ritual rather than realism; it transcends the specifics of social relations, reaching toward revelation. The ritual performance that is intrinsic to Black theatre renews the community; in Paul Carter Harrison's words, it "reveals the Form of Things Unknown" in a way that "binds, cleanses, and heals."

This collection of critical essays on plays by African American female playwrights from the post-reconstruction period to the present provides thematic analyses of plays by major and less widely known African American women playwrights The contributors examine the plays as vehicles of public discourse, and as explorations of issues of African American identity. Essays explore the themes of sexuality, agency, anger, and self-concept in the plays of African American Women.