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The Geographic Proximity with Rwanda and the Parable of the Tribes. .. Table 2: Evidence of Bany2 Leaders' Primary Loyalty to Their. Ethnic Group.

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Tom Paine; undated. Received Ph. Conducted two 2 tours to China on behalf of the W. Professor and Chairperson, Speech and Drama Dept. Published several articles and reviews in Theatre Survey and Comparative Drama. Member, W. Syllabus for English World Literature; Spring , with mid-term exam. Photocopy of version submitted to Theatre Survey, The American Journal of Theatre History; undated, with copy of acceptance letter, Second draft photocopy, with new information inserted into text; undated.

Western canon - Wikipedia

Title page - page 29 of photocopy edited by Theatre Survey; undated. Typescript draft; corrected, minus footnotes, undated. Bloom; typescript, undated. Dartmouth Daily Film Program reviews; mimeo, April Bloom; typescript, Bloom; mimeo, Outline and notes for oral report on The Cenci, by Shelley; holograph, mimeo, Bloom; mimeo, , with professor's critique. Bloom; carbon, undated. Correspondence; , , undated, unidentified. Lesson on the blocking of A Raisin in the Sun; undated. Photographs; performances, both rehearsals and filmed, undated.

Script: Hamlet, by William Shakespeare; blocking copy, undated.


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Script: Hamlet, by William Shakespeare; prompt copy, undated. Pattern for women's costumes, with instructions; undated. Script: Johnnas, by Bill Gunn; prompt copy, undated. Program: Circle Players present Kaleidoscope ' 67; August , Props and costumes required for A Slight Ache; undated. Script: Luv, by Murray Schisgal; prompt copy, undated.

HISTORY OF IDEAS - Romanticism

Script: Summertree, by Ron Cowen; prompt copy, undated. Draft of news release advertising show at Jewish Community Center; holograph, Script: Windows, by Murray Schisgal; prompt copy, undated. Corwin; prompt script, undated. Photograph: Calvin Thompson with sound equipment; undated. Bloom and the Pre-College Players; multilith, undated. Bloom and The Pre-College Players; drafts, multilith, undated. Bloom and The Pre-College Players; prompt copy, mimeo, undated. Bloom; photocopy, Bloom; director's copy, undated. Bloom; carbons, Proposed Fall Plans, , author unidentified; multilith, Vaughan and Frances Jeter; multilith, undated.

Fred MacDonald; in Phylon, March , photocopy. Leiter, photocopy, undated. Bloom; typescript draft, edited photocopies, undated.

Modern American Drama (Bloom's Period Studies (Hardcover))

Excerpts from various interpretations of The Duchess of Malfi, by John Webster; photocopies, undated. Corrigan; photocopy, undated. Lighting and sound cues, and design schedule; undated. Tape: Cat on a Hot Tin Roof; reel-to-reel, undated. Script: Picture, by Oliver Hailey; prompt copy, undated. Box Office Report form and complimentary ticket list; Script: MacBeth, by William Shakespeare; prompt copy, undated. Brochure: Loyola University Theatre Season; List of French scenes for The Mikado; undated. Gilbert and Arthur Sullivan; Part I, prompt copy, undated. Cassette tape: Much Ado About Nothing; undated.

Music and sound cues, with song used in play; undated. Production meeting agenda, August 25, , and production schedule; November December 2, Eliot; prompt copy, with extra speeches, undated. Agenda for first production meeting; September 12, Script: Story Theatre, adapted by Paul Sills; prompt copy, undated. Joint Program; Audition schedule, and times people are unavailable; undated. Expenses; , undated, with final box office report.

Menges; typescript photocopy, Bloom; in Comparative Drama Reviews, undated.

Modern American Drama

Dark Star, by George Hickenlooper; typescript photocopy, , with letter and clipping. The Electronic Nigger, by Ed Bullins; typescript photocopy, undated. Nature's Gentlemen, by George Hickenlooper; photocopy, Tape: Lady Audley's Secret; reel-to-reel, undated. Tape: Unidentified musical score, by Bob Merrill; cassette, undated. Log in. Aa Aa. Get access Buy the print book. Check if you have access via personal or institutional login.

Log in Register. Export citation. The canon of Renaissance English poetry of the 16th and early 17th century has always been in some form of flux and towards the end of the 20th century the established canon was criticized, especially by those who wished to expand it to include, for example, more women writers. However, poet John Dryden condemned aspects of the metaphysical poets in his criticism. In the 18th century Metaphysical poetry fell into further disrepute, [29] while the interest in Elizabethan poetry was rekindled through the scholarship of Thomas Warton and others.

However, the canon of Renaissance poetry was formed in the Victorian period with anthologies like Palgrave's Golden Treasury. In the twentieth century T. Eliot and Yvor Winters were two literary critics who were especially concerned with revising the canon of renaissance English literature.

eywaapps.dk/I/wp-content/suspense/changes-at-fairacre.php During the course of the s, Eliot did much to establish the importance of the metaphysical school, both through his critical writing and by applying their method in his own work. However, by A. Alvarez was commenting that "it may perhaps be a little late in the day to be writing about the Metaphysicals. The great vogue for Donne passed with the passing of the Anglo-American experimental movement in modern poetry. The American critic Yvor Winters suggested in an alternative canon of Elizabethan poetry , [33] which would exclude the famous representatives of the Petrarchan school of poetry, represented by Sir Philip Sidney and Edmund Spenser.

Winters claimed that the Native or Plain Style anti-Petrarchan movement had been undervalued and argued that George Gascoigne — "deserves to be ranked […] among the six or seven greatest lyric poets of the century, and perhaps higher".


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  6. Towards the end of the 20th century the established canon was increasingly under fire. In the twentieth century there was a general reassessment of the literary canon , including women's writing , post-colonial literatures , gay and lesbian literature , writing by people of colour, working people's writing, and the cultural productions of historically marginalized groups.


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    This reassessment has resulted in a whole scale expansion of what is considered "literature", and genres hitherto not regarded as "literary", such as children's writing, journals, letters, travel writing, and many others are now the subjects of scholarly interest. Writers from Asia and Africa have also been nominated for, and also won, the Booker prize in recent years. The feminist movement produced both feminist fiction and non-fiction and created new interest in women's writing.

    It also prompted a general reevaluation of women's historical and academic contributions in response to the belief that women's lives and contributions have been underrepresented as areas of scholarly interest. Much of the early period of feminist literary scholarship was given over to the rediscovery and reclamation of texts written by women. Virago Press began to publish its large list of 19th and early 20th-century novels in and became one of the first commercial presses to join in the project of reclamation. In the twentieth century, the Western literary canon started to include black writers not only from black American writers , but also from the wider black diaspora of writers in Britain, France, Latin America, and Africa.

    This correlated largely with the shift in social and political views during the civil rights movement in the United States. The first global recognition came in when Gwendolyn Brooks was the first black American to win a Pulitzer Prize for Literature. Some early American Black writers were inspired to defy ubiquitous racial prejudice by proving themselves equal to white American authors.