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Shakespeare and ‘Native Americans’

Forging Identities through the 1916 Shakespeare Tercentenary

Monika Smialkowska

This article examines the celebrations organised for the 1916 Shakespeare Tercentenary in three American locations: Wellesley, MA; Atlanta, GA; and Grand Forks, ND. By focusing on these hitherto neglected events, the article extends the investigations, initiated by Thomas Cartelli and Coppélia Kahn, into the ways in which the Tercentenary activities in the U.S. participated in the contemporaneous debates concerning American national identity. These investigations have until recently concentrated almost exclusively on the Tercentenary festivities organised in the metropolitan centre of New York City. An examination of the provincial celebrations in regions as diverse as New England, the South, and the Midwest, indicates that the Shakespeare Tercentenary provided a platform for the negotiation of a complex network of interrelated, and sometimes conflicting, national and local identities.

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Matthew Zarnowiecki

entitled The Sonnet Project (TSP). The project’s aim is to produce 154 short films, one for each sonnet. Each sonnet is filmed by a different director, at a different location in one of the five boroughs of New York City. There are parameters to which

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Creative Critical Shakespeares

Rob Conkie and Scott Maisano

respectively in an American high school and in a CSI-like New York City, but also in the four dramatic contributions to the issue. With a fervour equal to that early fanfic author, Maurice Morgann, but with perhaps greater self-reflexivity, each of these play

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Dennis A. Gilbert

My article focuses on Le Théâtre existentialiste (Existentialist Theater) by Simone de Beauvoir, recently translated and published in the volume of the Beauvoir Series on her literary writings. The first part introduces the original sound recording of this text and the circumstances behind its possible production in New York City in 1947 and my discovery of it at Wellesley College in 1996. The second part analyzes the divisions of Beauvoir's remarks as she presents Jean-Paul Sartre, Albert Camus, and their principal plays from the period of the Occupation: The Flies, No Exit, and Caligula. The third part then evaluates certain of Beauvoir's key concepts in terms of how they were able to define adequately the substance of existentialist theater for a postwar American audience and whether they remain valid for a more contemporary theatrical public some six decades later.

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Doing Queer Love

Feminism, AIDS, and History

Lisa Diedrich

In this essay, I utilize the concept of the echo, as formulated in the historical and methodological work of Michel Foucault and Joan W. Scott, to help theorize the historical relationship between health feminism and AIDS activism. I trace the echoes between health feminism and AIDS activism in order to present a more complex history of both movements, and to try to think through the ways that the coming together of these two struggles in a particular place and time—New York City in the 1980s—created particular practices that might be effective in other times and places. The practice that I focus on here is one that I call 'doing queer love'. As I hope to show, 'doing queer love' both describes a particular history of health activism and opens up the possibility of bringing into being a different future than the one a conventional history of AIDS seems to predict. It is an historical echo that I believe we must try to hear now, not just in order to challenge a particular history of AIDS activism in the United States, but also in order to provide a model that can be useful for addressing the continuing problem of AIDS across the globe.

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Linda Gruen

, lauded their entry into the workforce as reporters, store clerks, typists, and factory workers, and noted how they were respected in public. In fact, by 1870 women comprised one-third of New York City's labor force ( Ryan 1990: 63 ). This increased female

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Richard Bessel

he wrote “is never completed and always endangered.” 48 In this connection it is worth noting what Eric Monkonnen, a leading historian of violent crime, concluded in his last monograph, a perceptive quantitative study of murder in New York City: “We

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Donald H. Holly Jr.

a successful landscape architecture business in New York City to spend nine months with the Hadza—to embark on a journey that he claims, had chosen him more than he had it ( Stephenson 2000: ix, xv ). The writer Harvey Arden (1994: 5) , inspired by

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Nicholas L. Syrett

.1353/sex.0.0061; Stephen Robertson, “‘Boys, of Course, Cannot be Raped’: Age, Homosexuality, and the Redefinition of Sexual Violence in New York City, 1880–1955,” Gender & History 18, no. 2 (2006): 357–379, doi:10.1111/j.1468-0424.2006.00433.x; Elise

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“One Is Not Born a Dramatist”

The Genesis of Sartre’s Theatrical Career in Writings to, with, and by Beauvoir

Dennis A. Gilbert

until 1970. In the spring of 1947, while in New York City lecturing on existentialism, Beauvoir records Existentialist Theater as a practical device to present Sartre’s major ideas to an American audience. 51 For this purpose, she opts to concentrate