The Family in Twentieth-century American Drama
The central subject of American drama is, arguably, the American family. From Royall Tyler's colonial comedy The Contrast (1787) to August Wilson's King Hedley II (2000), relationships between husbands, wives, and their children have been used consistently by American playwrights to explore and illuminate the American experience. This study of the family in twentieth-century American drama explores how filial relationships are affected by the capitalistic culture of consumption that permeates twentieth-century American society. By analyzing relationships within both traditional and nontraditional families, this book examines how family members in American plays perceive themselves and others as «things» in American twentieth-century capitalistic society.
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Addie Adele African American ain't Alexandra Amanda American family analyze Big Daddy Billy bisexual boys Brick capitalistic American society capitalistic ideologies capitalistic society Carlyle Cathleen century American capitalistic century American society century capitalistic American Children's Hour Cokes commodification commodities Cory daughter Douglass dreams economic Edmund Emory Eugene O'Neill's exchange-value fact family members father filial relationships gentleman caller Glass Menagerie going homosexual Horace husband individuals James Tyrone Jim O'Connor Johnny Journey into Night Julia Karen Laura lesbian Linda Little Foxes Long Day's Journey Maggie Mama marriage married Mart Crowley Martha Marxist Mary Mary's masculinity materialistic maternal Michael mother non-traditional families Parker perceived Press reality Regina reveals Ritchie Roger roles Rooney scholars Seton Simone social sociological tells Tennessee Williams Theo things throughout the play traditional family Troy Troy's twentieth century American twentieth century capitalistic twentieth century society Tyrone's Wendal wife Willy Willy's York
Hereditary Misery: The Dysfunctional Family and Multigenerational ...
Limited preview - 2007