Weitere Artikel dieser Ausgabe durch Wischen aufrufen
August Wilson’s “Pittsburgh Cycle,” a play written for each decade of the twentieth century, reveals an ongoing engagement with the nature of race, crime, and punishment. Almost none of the male characters in Wilson’s cycle is imprisoned during the course of the play in which he appears, yet most share the experience of imprisonment, and thus carceral places occupy an important rhetorical space in his dramaturgy. Specifically, in The Piano Lesson, Wilson casts prison as metaphor and metonym of modern-day bondage, historicizing social forms of control that have circumscribed the social, civil, and legal rights of the African American community.
Bitte loggen Sie sich ein, um Zugang zu diesem Inhalt zu erhalten
Sie möchten Zugang zu diesem Inhalt erhalten? Dann informieren Sie sich jetzt über unsere Produkte:
Alexander, M. (2010). The new Jim Crow: mass incarceration in the age of colorblindness. New York: The New Press.
Baker, H. A. (1984). Blues, ideology, and Afro-American literature: a vernacular theory. Chicago: University of Chicago Press.
Baraka, A. (1981). Black literature and the Afro-American nation: The urban voice. In M. C. Jaye & A. C. Watts (Eds.), Literature and the urban experience: essays on the city and literature (pp. 139–159). New Brunswick: Rutgers University Press.
Blackmon, D. A. (2009). Slavery by another name: the re-enslavement of Black Americans from the Civil War to World War II. New York: Anchor Books.
Davis, A. (2001). Race, gender and prison history: From the convict lease system to the Supermax prison. In D. Sabo, T. A. Kupers, & W. London (Eds.), Prison masculinities (pp. 36–45). Philadelphia: Temple University Press.
DuBois, W. E. B. (1903). The souls of Black folk. Three Negro Classics 1965 (pp. 207–389). New York: Avon.
Elam, H. J., Jr. (2004). The past as present in the drama of August Wilson. Ann Arbor: University of Michigan Press.
Ellison, R. (1953). Shadow and act. New York: Vintage.
Herrington, J. (1998). “I Ain’t Sorry for Nothin’ I Done”: August Wilson’s process of playwriting. New York: Limelight Editions.
Holloway, K. (2002). Passed on: African American mourning stories. Durham: Duke.
Morales, M. (1994). Ghosts on the piano: August Wilson and the representation of Black American history. In A. Nadel (Ed.), May all your fences have gates: essays on the drama of August Wilson (pp. 105–115). Iowa City: University of Iowa Press.
Morrison, T. (1987). Beloved. New York: Knopf.
Oshinsky, D. M. (1996). “Worse Than Slavery”: Parchman Farm and the ordeal of Jim Crow justice. New York: The Free Press.
Prince, V. S. (2004). Burnin’ down the house: home in African American literature. New York: Columbia University Press.
Rice, H. W. (1989). Two work songs in cane. Black American Literature Forum, 23(3), 593–599. CrossRef
Shannon, S. (1994). The ground on which i stand: August Wilson’s perspective on African American women. In A. Nadel (Ed.), May all your fences have gates: essays on the drama of August Wilson (pp. 150–164). Iowa City: University of Iowa Press.
Visvis, V. (2008). Alternatives to the ‘Talking Cure’: Black music as traumatic testimony in Toni Morrison’s Song of Solomon. African American Review, 42(2), 255–268.
Wilson, A. (1986). Fences. New York: Plume.
Wilson, A. (1979). Jitney. New York: Overlook Press.
Wilson, A. (1999). King Hedley II. New York: Theatre Communications Group.
Wilson, A. (1990). The piano lesson. New York: Plume.
Wilson, A. (1996). Seven guitars. New York: Plume.
- “The Colored Man Can’t Fix Nothing with the Law”: Carceral Spaces in August Wilson’s The Piano Lesson
Anissa Janine Wardi
- Springer US
Neuer Inhalt/© Stellmach, Neuer Inhalt/© Maturus, Pluta Logo/© Pluta