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Women, Money, and the Law: Nineteenth-Century Fiction, Gender, and the Courts; Belabored Professions: Narratives of African American Working Womanhood

Women, Money, and the Law: Nineteenth-Century Fiction, Gender, and the Courts; Belabored... American Literature Richards works from the premise that people in post-Revolutionary America did not know exactly who or what they were, and that this instability is registered in dramatic texts and their staging, which often adjusted plays to meet locally specific conditions. He begins by considering the “staging of revolution” in works by J. Hector St. John de Crèvecoeur, Judith Sargent Murray, and William Dunlap, as well as the popularity and influence of Ireland-born John O’Keefe’s The Poor Soldier (1783). Richards examines identity politics with instructive readings of Susanna Rowson’s stage Muslim, James Nelson Barker’s American Native, the stage Irish, and the stage African. The final section investigates the interactions of theater, culture, and identity through readings of Charles Brockden Brown’s Ormond; the theater scene in Norfolk, Virginia; and Royall Tyler’s poetic rejections of a commercial theater for America. Tyler’s play The Contrast is often the only drama included in literary anthologies of this period, but one comes away from Richards’s study with a sense that the theater world that developed in the early republican period was rich, complex, and international. Although a native theater began to flourish in the mid-nineteenth century, middle-class Americans were often turning inward. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Literature Duke University Press

Women, Money, and the Law: Nineteenth-Century Fiction, Gender, and the Courts; Belabored Professions: Narratives of African American Working Womanhood

American Literature , Volume 79 (2) – Jun 1, 2007

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Publisher
Duke University Press
Copyright
Copyright 2007 by Duke University Press
ISSN
0002-9831
eISSN
1527-2117
DOI
10.1215/00029831-79-2-420
Publisher site
See Article on Publisher Site

Abstract

American Literature Richards works from the premise that people in post-Revolutionary America did not know exactly who or what they were, and that this instability is registered in dramatic texts and their staging, which often adjusted plays to meet locally specific conditions. He begins by considering the “staging of revolution” in works by J. Hector St. John de Crèvecoeur, Judith Sargent Murray, and William Dunlap, as well as the popularity and influence of Ireland-born John O’Keefe’s The Poor Soldier (1783). Richards examines identity politics with instructive readings of Susanna Rowson’s stage Muslim, James Nelson Barker’s American Native, the stage Irish, and the stage African. The final section investigates the interactions of theater, culture, and identity through readings of Charles Brockden Brown’s Ormond; the theater scene in Norfolk, Virginia; and Royall Tyler’s poetic rejections of a commercial theater for America. Tyler’s play The Contrast is often the only drama included in literary anthologies of this period, but one comes away from Richards’s study with a sense that the theater world that developed in the early republican period was rich, complex, and international. Although a native theater began to flourish in the mid-nineteenth century, middle-class Americans were often turning inward.

Journal

American LiteratureDuke University Press

Published: Jun 1, 2007

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