This study closely analyzes key works by five pivotal playwrights: Sidney Kingsley, Arthur Miller, David Mamet, August Wilson, and Suzan-Lori Parks, in a comparison of the treatment of money in a range of American plays from the Great Depression to the early twenty-first century. Money emerges as a site of anxieties regarding the relation of signs to the real: a “monstrous” substance that seems to breed itself from itself; a dangerous abstraction that claims for itself a “hard” reality, transforming lived reality into an abstraction. At the same time, money’s self-generating properties have made it a serviceable metaphor for the American ideal of “self-making”; money’s ability to exchange means for ends, abstract for concrete, representation for real, has made it an emblem of our postmodern condition. Money has been conceived as a malevolent force robbing us of our natural relation to the world and to ourselves, and as an empowering one with which we may remake this relation. This ambivalence about money constitutes an important animating tension of American drama. Furthermore, anxieties surrounding money resemble in important ways anxieties surrounding theatre, and the plays’ treatment of money reveals interesting tensions between a persistent American dramatic realism and naturalism, and a philosophical and aesthetic postmodernism.
This study closely analyzes key works by five pivotal playwrights: Sidney Kingsley, Arthur Miller, David Mamet, August Wilson, and Suzan-Lori Parks, in a comparison of the treatment of money in a range of American plays from the Great Depression to the early twenty-first century. Money emerges as a site of anxieties regarding the relation of signs to the real: a “monstrous” substance that seems to breed itself from itself; a dangerous abstraction that claims for itself a “hard” reality, transforming lived reality into an abstraction. At the same time, money’s self-generating properties have made it a serviceable metaphor for the American ideal of “self-making”; money’s ability to exchange means for ends, abstract for concrete, representation for real, has made it an emblem of our postmodern condition. Money has been conceived as a malevolent force robbing us of our natural relation to the world and to ourselves, and as an empowering one with which we may remake this relation. This ambivalence about money constitutes an important animating tension of American drama. Furthermore, anxieties surrounding money resemble in important ways anxieties surrounding theatre, and the plays’ treatment of money reveals interesting tensions between a persistent American dramatic realism and naturalism, and a philosophical and aesthetic postmodernism.
Hear the cannon roar at Valley Forge with George Washington, dance the night away at a Chicago Speakeasy during Prohibition, take a ringside seat for the gunfight at the OK Corral, ride Apollo 11 to the moon, hear Martin Luther King's 'I Have a Dream' speech, join with Harry S. Truman on the A-bomb deliberations, land with John Smith at Virginia, ride against Custer at Little Horn, get on down to Jimi Hendrix at Woodstock, march to 'The Grapes of Wrath' at Shiloh, work your fingers to the bone at Henry Ford's car plant . . . this is America - the beautiful, the powerful, the tragic, the glorious. The Mammoth Book of How It Happened: America is the story of the making of America in the very words of those who were there, from its 'discovery' by Christopher Columbus to George W. Bush's War Against Terrorism. Composed of firsthand eye-witness accounts of the seminal moments in US history, this is an intimate, revealing, insightful guide to the greatest nation on earth. In five chronological sections, this volume tracks the main phases of American history: Discovery, including the exploration and settlement of America; Independence, the Revolution and wars against British rule; Destiny, covering expansion into the West and the split between North and South; Frontier, including the settlement of the American West and the Indian Wars; and finally Century, the 100 years that saw America becoming a superpower on the world's political stage.
Revised and expanded edition of Jon E. Lewis's ever-popular account of the American West. The book is at once a history and a compendium of western lore. It tells what life on the frontier was really like and gives a human portrait of the tough and sometimes violent way of life experienced by the early pioneers. The gunfighters and the cowboys, women, Indians and others, all have their part to play - and as well as the historical accounts there are intriguing anecdotes of everyday life on the plains, from how Montana cowboys warmed up their horses' bits, to the words of the Navajo medicine chants.
Visual techniques for applying criminological theory to social science research Introducing Criminological Thinking: Maps, Theories, and Understanding is an accessible and user-friendly criminological theory text for students, instructors and researchers. In addition to the unique use of concept maps, mind maps, and other visual techniques to consider theory-based inquiry, this text combines an exploration of the core elements of theory with relevant examples drawn from biology, psychology, sociology, critical traditions, and integrative efforts. Unlike in other theory texts, the chapters are arranged by level of explanation to help students understand how theories from different disciplines interact with each other as a foundation for many contemporary criminological theories. Authors Jon Heidt and Johannes Wheeldon have developed a seven-step model to identify key aspects of different theories including their historical and social context, base assumptions, scope, problem foci, terms/concepts, related research, and practical ramifications. This text offers both a student-friendly theoretical discussion and accessible visual examples to explain criminological theory and its applicability to social science research.
Reel Life: 101 meticulously and cleverly presents more than 1,101 of the most culturally influential movie lines of our time, it is not a mere collection of familiar movie quotes from popular movies. In fact, you probably won't remember most of them. But, they remember you. Reel Life 101 is a fascinating first-ever compilation of those special lines and bits of dialogue that went, as if by some divine cinematic guidance, directly to your brain. There, it was compressed and stored in a unique one-of-a-kind "celebrity cell," ready to be re-act-ivated into the scenes of your own reel life dramas. Jon Anthony Dosa, the Emmy Award winning producer of A Day At The Movies, lovingly and meticulously presents more than 1,101 of these literary gems, these nuggets of "behavioral truths," in a meaningful, easy to read, and entertainingly clever way. Years in the making, and a true labor of love, Reel Life 101 is a must-have resource book for film buffs, sociologists, therapists, historians, writers, speakers, and anyone who wants to understand what life, death, love, marriage, anger, and humor are all about.
This book examines a trans-Atlantic chain migration from a Norwegian fjord district to settlements in the nineteenth-century rural Upper Middle West and considers the social and economic conditions experienced in Europe as well as the immigrants' cultural adaptations to America.
Everyone’s favorite time-travelers are changing their styles! The Time Warp Trio series now features a brand-new, eye-catching design, sure to appeal to longtime fans, and those new to Jon Scieszka’s wacky brand of humor.
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