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Titlebook: Weyward Macbeth; Intersections of Rac Scott L. Newstok,Ayanna Thompson Book 2010 Palgrave Macmillan, a division of Nature America Inc. 2010

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發(fā)表于 2025-3-25 05:26:05 | 只看該作者
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發(fā)表于 2025-3-25 08:26:41 | 只看該作者
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發(fā)表于 2025-3-25 14:28:38 | 只看該作者
2945-6312 an drama, poetry, film, music, history, politics, acting, and ?directing — all through the intersections of race and performance.?978-0-230-61642-4978-0-230-10216-3Series ISSN 2945-6312 Series E-ISSN 2945-6320
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發(fā)表于 2025-3-25 19:46:04 | 只看該作者
What Is a “Weyward” ,?t nature of the racialized re-stagings, adaptations, and allusions to ... “Weyward”—as weird, fated, fateful, perverse, intractable, willful, erratic, unlicensed, fugitive, troublesome, and wayward—is precisely the correct word for .’s role in American racial formations.
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發(fā)表于 2025-3-25 22:47:48 | 只看該作者
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發(fā)表于 2025-3-26 03:17:27 | 只看該作者
What Is a “Weyward” ,?instead of “wayward” as the modern gloss for “weyward,” de Grazia and Stallybrass note that “a simple vowel shift” transposes “the sisters from the world of witchcraft and prophecy … to one of perversion and vagrancy” (263). In thinking about the roles . has played—and continues to play—in American
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發(fā)表于 2025-3-26 06:44:27 | 只看該作者
Weird Brothers: What Thomas Middleton’s , Can Tell Us about Race, Sex, and Gender in few silver hairs, and a face that can turn women’s . men’s heads. He slips the pen into the inkwell and begins to write, by the flickering oil-light and an occasional flash of lightning, on the pages of a text whose title page reads ..
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發(fā)表于 2025-3-26 09:49:44 | 只看該作者
“Blood Will Have Blood”: Violence, Slavery, and , in the Antebellum American Imaginationthe “witches” of the proslavery party clustered around a bubbling cauldron whose heat is fed by the flames of burning abolitionist newspapers. The “witches,” Stephen A. Douglas, James Buchanan, and Preston Brooks (among others), declaim spells against the nation’s antislavery party. Slave manacles a
29#
發(fā)表于 2025-3-26 15:00:11 | 只看該作者
The Exorcism of Macbeth: Frederick Douglass’s Appropriation of Shakespeareramatize his call to protect and defend the Constitution and its new reconstructive amendments. In the passage cited above, Douglass’s point of contact with Shakespeare is a section in . introducing the climactic battle between Macbeth’s besieged forces and the army made up of the assassinated king’
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發(fā)表于 2025-3-26 18:14:10 | 只看該作者
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