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Papers by Nick Moschovakis
Othello: New Critical Essays, 2002
Shakespeare and Historical Formalism, ed. Stephen Cohen, 2007
Shakespeare Quarterly, 2002
Macbeth: New Critical Essays, ed. Nick Moschovakis, 2008
Weyward Macbeth: Intersections of Race and Performance, ed. Scott Newstok & Ayanna Thompson, 2010
Tennessee Williams Annual Review, 2005
R acial issues do not often arise explicitly in the Williams canon, at least by comparison with t... more R acial issues do not often arise explicitly in the Williams canon, at least by comparison with those of other major Southern writers (Bigsby 98; Adler 4; Kolin, "Race" 204). Whereas African-American characters rarely appear in Williams's writings, and even more rarely participate in the main action of his plays, it is not so hard to find him alluding to music performed by African Americans, or derived from African-American traditions. Williams's writings from the 1930s contain various representations of black singers, as in the posthumously published story "Big Black: A Mississippi Idyll," as well as in unpublished drafts of fiction, verse, and drama. Blues music is specifically called for in the early full-length play Fugitive Kind, in the early one-act play Hello From Bertha, and later in Orpheus Descending. During the 1940s, Williams wrote lyrics that he called "folkverse," and that either included the word "Blues" in their titles, or else imitated the dialects and stanzaic forms of blues songs; another of these poems paid homage to African-American spirituals. Jazz and swing music inspired both the subject and the method of one of Williams's first free-verse experiments, the poem "Tenor Sax Taking the Breaks." Later, he would employ "hot swing" thematically in The Glass Menagerie. The scripts of Battle of Angels, A Streetcar Named Desire, and Cat on a Hot Tin Roof all expressly provide for music made by African
Resources for American Literary Study, 2011
Resources for American Literary Study, 2009
Book Reviews by Nick Moschovakis
Modern Philology, 2012
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Shakespeare Quarterly, 2013
Shakespeare Quarterly, 2005
Othello: New Critical Essays, 2002
Shakespeare and Historical Formalism, ed. Stephen Cohen, 2007
Shakespeare Quarterly, 2002
Macbeth: New Critical Essays, ed. Nick Moschovakis, 2008
Weyward Macbeth: Intersections of Race and Performance, ed. Scott Newstok & Ayanna Thompson, 2010
Tennessee Williams Annual Review, 2005
R acial issues do not often arise explicitly in the Williams canon, at least by comparison with t... more R acial issues do not often arise explicitly in the Williams canon, at least by comparison with those of other major Southern writers (Bigsby 98; Adler 4; Kolin, "Race" 204). Whereas African-American characters rarely appear in Williams's writings, and even more rarely participate in the main action of his plays, it is not so hard to find him alluding to music performed by African Americans, or derived from African-American traditions. Williams's writings from the 1930s contain various representations of black singers, as in the posthumously published story "Big Black: A Mississippi Idyll," as well as in unpublished drafts of fiction, verse, and drama. Blues music is specifically called for in the early full-length play Fugitive Kind, in the early one-act play Hello From Bertha, and later in Orpheus Descending. During the 1940s, Williams wrote lyrics that he called "folkverse," and that either included the word "Blues" in their titles, or else imitated the dialects and stanzaic forms of blues songs; another of these poems paid homage to African-American spirituals. Jazz and swing music inspired both the subject and the method of one of Williams's first free-verse experiments, the poem "Tenor Sax Taking the Breaks." Later, he would employ "hot swing" thematically in The Glass Menagerie. The scripts of Battle of Angels, A Streetcar Named Desire, and Cat on a Hot Tin Roof all expressly provide for music made by African
Resources for American Literary Study, 2011
Resources for American Literary Study, 2009
Modern Philology, 2012
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Shakespeare Quarterly, 2013
Shakespeare Quarterly, 2005
Sixteenth Century Journal, 1998
... Preface, Contributors, Introduction: 1. Elias, Foucault, Oestereich: on a historical theory o... more ... Preface, Contributors, Introduction: 1. Elias, Foucault, Oestereich: on a historical theory of confinement Norbert Finzsch, 2. Four centuries of prison history: punishment, suffering, the body, and power Pieter Spierenburg, Part I. Hospitals and Asylums: 3. The transformation of the ...