The WPA Theatre Project-conceived as a relief measure, a work program, and an artistic experiment-enjoyed a brief but lively existence. With skill and sensitivity Mrs. Mathews explores its turbulent history from its ambiguous origins in 1935 to its tragic demise in 1939. The book recreate: the atmosphere of the era, and conveys a vivid sense of the Joys, frustrations, and personal sacrifices undergone by those dedicated few who recognized the need for an American People's Theatre.. Mrs. Mathews also provides a detailed account of the Congressional hearings which occasioned the disbanding of the. Project, and a fascinating portrait of Hallie Flanagan, the Projects colorful National Director. Originally published in 1967. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Many women held positions of great responsibility and power in the United States during the 19th century as theatre managers: managing stock companies, owning or leasing theatres, hiring actors and other personnel, selecting plays for production, directing rehearsals, supervising all production details, and promoting their dramatic offerings. Competing in risky business ventures, these women were remarkable for defying societal norms that restricted career opportunities for women. The activities of more than 50 such women are discussed in Nineteenth-Century American Women Theatre Managers, beginning with an account of 15 pioneering women managers who were all managing theatres before 24 December 1853, when Catherine Sinclair, often incorrectly identified as the first woman theatre manager in the United States, opened her theatre in San Francisco.
Sex, Gender, and the Politics of ERA is the most profound and sensitive discussion to date of the way in which women responded to feminism. Drawing on extensive research and interviews, Mathews and De Hart explore the fate of the ERA in North Carolina--one of the three states targeted by both sides as essential to ratification--to reveal the dynamics that stunned supporters across America. The authors insightfully link public discourse and private feelings, placing arguments used throughout the nation in the personal contexts of women who pleaded their cases for and against equality. Beginning with a study of woman suffrage, the book shows how issues of sex, gender, race, and power remained potent weapons on the ERA battlefield. The ideas of such vocal opponents as Phyllis Schlafly and Senator Sam Ervin set the perfect stage for mothers to confess their terror at the violation of their daughters in a post-ERA world, while the prospect of losing ratification to this terror impelled supporters to shed the white gloves of genteel lobbying for the combat boots of political in-fighting. In the end, the efforts of ERA supporters could neither outweigh the symbolic actions of its opponents nor weaken the resistance of those same legislators to further federal guarantees of equality. Ultimately, opponents succeeded in making equality for women seem dangerous. In thus explaining the ERA controversy, the authors brilliantly illuminate the many meanings of feminism for the American people.
The first half of the twentieth century witnessed a growing interest in America's folk heritage, as Americans began to enthusiastically collect, present, market, and consume the nation's folk traditions. Examining one of this century's most prominent "folk revivals--the reemergence of Southern Appalachian handicraft traditions in the 1930s--Jane Becker unravels the cultural politics that bound together a complex network of producers, reformers, government officials, industries, museums, urban markets, and consumers, all of whom helped to redefine Appalachian craft production in the context of a national cultural identity. Becker uses this craft revival as a way of exploring the construction of the cultural categories "folk" and "tradition." She also addresses the consequences such labels have had on the people to whom they have been assigned. Though the revival of domestic arts in the Southern Appalachians reflected an attempt to aid the people of an impoverished region, she says, as well as a desire to recapture an important part of the nation's folk heritage, in reality the new craft production owed less to tradition than to middle-class tastes and consumer culture--forces that obscured the techniques used by mountain laborers and the conditions in which they worked.
The WPA Theatre Project-conceived as a relief measure, a work program, and an artistic experiment-enjoyed a brief but lively existence. With skill and sensitivity Mrs. Mathews explores its turbulent history from its ambiguous origins in 1935 to its tragic demise in 1939. The book recreate: the atmosphere of the era, and conveys a vivid sense of the Joys, frustrations, and personal sacrifices undergone by those dedicated few who recognized the need for an American People's Theatre.. Mrs. Mathews also provides a detailed account of the Congressional hearings which occasioned the disbanding of the. Project, and a fascinating portrait of Hallie Flanagan, the Projects colorful National Director. Originally published in 1967. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Sex, Gender, and the Politics of ERA is the most profound and sensitive discussion to date of the way in which women responded to feminism. Drawing on extensive research and interviews, Mathews and De Hart explore the fate of the ERA in North Carolina--one of the three states targeted by both sides as essential to ratification--to reveal the dynamics that stunned supporters across America. The authors insightfully link public discourse and private feelings, placing arguments used throughout the nation in the personal contexts of women who pleaded their cases for and against equality. Beginning with a study of woman suffrage, the book shows how issues of sex, gender, race, and power remained potent weapons on the ERA battlefield. The ideas of such vocal opponents as Phyllis Schlafly and Senator Sam Ervin set the perfect stage for mothers to confess their terror at the violation of their daughters in a post-ERA world, while the prospect of losing ratification to this terror impelled supporters to shed the white gloves of genteel lobbying for the combat boots of political in-fighting. In the end, the efforts of ERA supporters could neither outweigh the symbolic actions of its opponents nor weaken the resistance of those same legislators to further federal guarantees of equality. Ultimately, opponents succeeded in making equality for women seem dangerous. In thus explaining the ERA controversy, the authors brilliantly illuminate the many meanings of feminism for the American people.
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