American Stage Research Articles

Céad Míle Fáilte, One Hundred Thousand Welcomes: A Summary Review of O'Neill Performances

<i>Céad Míle Fáilte</i>, One Hundred Thousand Welcomes: A Summary Review of O'Neill Performances

“A Poor, Washed Out, Pale Creature”: Passing, Dracula, and the Jazz Age Vampire

AbstractAlthough critics have repeatedly referenced the stagey or cinematic elements that characterize Passing’s (1929) narrative structure and occasionally observed its gothic aesthetics, thus far no critic has attempted to contextualize Nella Larsen’s novel within the American stage and film culture of the early twentieth century or the concurrent revitalization of America’s interest in the Gothic in film and theater. Situated primarily in New York and helmed by many of the same individuals, the Harlem and Gothic Renaissances of the interwar years cooperated to reframe racial and aesthetic discourses, as Harlem art absorbed and reimagined gothic art, culture, and slang and imbued Bram Stoker’s Dracula (1897) and its successors with covert racial commentary. This essay studies Nella Larsen’s Passing within this context, paying special attention to the influence of American racial discourse on Horace Liveright’s 1927 stage version of Dracula and its mutually influential relationship with black theater, art, and discourse. Melding contemporary archetypes of the Jazz Age vamp and gothic vampire to construct its liminal heroine, Clare Kendry, as a gothic figure in the vamp/vampire paradigm, Passing repurposes gothic elements to challenge racial binaries and to destabilize the racist status quo. This study suggests the significant extent to which Harlem Renaissance authors not only adapted the Gothic within their own literature but also reinvented and redefined it in the popular discourses of the twentieth century.

The Year's Work in American Humor Studies, 2017

The Year's Work in American Humor Studies, 2017

The Lacanian Subject in The Language Archive

Julia Cho is a promising playwright on the contemporary American stage. She has produced many plays exploring the moments of crisis in daily American life. Among those plays, The Language Archive h...

Familiar by Danai Gurira

Reviewed by: Familiar by Danai Gurira Kristin Moriah FAMILIAR. By Danai Gurira. Directed by Taibi Magar. The McGuire Proscenium Stage at the Guthrie Theater, Minneapolis. March 30, 2018. The Midwest premiere of Familiar at the Guthrie Theatre was a homecoming for Danai Gurira, who experienced a surge in pop culture recognition in 2018 for her role in the film Black Panther. Of course, to many, Gurira is first and foremost a playwright and stage actor whose work exposes the diverse experiences of Africans on the continent and in the black diaspora. In her critically acclaimed play Eclipsed (2016), she brought the voices of women who survived the Liberian war to Broadway. In Familiar, Gurira focuses on a prosperous suburban Minnesota home, an atypical backdrop for a multilayered depiction of a matriarchal clan hailing from Zimbabwe. In doing so, she complicates representations of black family on the American stage. Gurira’s play is exceptional among recent productions that explore the contemporary meaning of black diasporic life in the United States. First staged at the Yale Repertory Theatre in 2015, the first act opens on a comfortable living room. Donald Chinyaramwira, the patriarch of the family, enters and retrieves a large framed map of Zimbabwe, admiring it proudly and placing it on the mantelpiece. The map went up and down throughout the play, replaced and removed by various characters at seemingly random intervals. It was at once too earnest, too tacky, and too out of place for the thoroughly respectable decor. Donald’s wife, Marvellous, a formidable matriarch who appears fully bedecked in a royal purple gown by the last scene, is most strongly opposed to its display and the stubborn resistance to assimilation it represents. Despite Marvellous’s fierce opposition, the map served as the tangible link to Africa that many of the characters in Familiar sought. Click for larger view View full resolution The cast of the Guthrie Theater’s production of Familiar by Danai Gurira. (Photo: Dan Norman.) Donald’s persistent nostalgia for Zimbabwe is shared by his two adult daughters. Youngest daughter Nyasha grills her slightly tipsy aunt, Margaret, about her failure to speak Shona, their native language, with her sons. Nyasha is deep in the throes of angst about her lost heritage. This crisis is most powerfully exemplified by her trip to Zimbabwe to learn traditional Zimbabwean music. But despite their longings and efforts, Nyasha, her sister, and her cousins are privileged outsiders in their own land. Nyasha cannot even correctly greet her aunt in their native tongue. Nyasha’s older sister, Tendi, also seeks to become more familiar with her Zimbabwean roots, with cataclysmic results. A successful African-born lawyer who has been raised in the United States, Tendi attempts to hold a traditional Zimbabwean bride-price ceremony, or roora, as a way of affirming her heritage. She enlists the aid of her aunt, Anne, the family black sheep, who operates with her own agenda. The reality of the ceremony and the family tensions it stokes are more than Tendi bargains for. Anne uses the occasion to seek reparations and revenge. As such, the roora becomes the catalyst for an earth-shattering revelation. In performance, such traumatic insights were often interspersed with moments of bawdy humor and physical comedy in a deft gesture toward American family sitcoms. The Chinyaramwira’s are hilarious. And yet, despite their aspirations, it was clear that they would never [End Page 118] be the Cosbys; their journey to America’s heartland has been too rough. The familiar whiteness of the Midwestern landscape, of course, contributed to the Chinyaramwira’s sense of nostalgia and alienation. Its Lutheran churches; the hypocrisy of white community members; its banal knitting circles and the attendant hurts contained in those spaces all come to form a significant barrier in the Chinyaramwira’s shifting family dynamic and full assimilation. Tendi’s fiancé, Chris, is derisively referred to as a “white boy from Minnetonka,” which becomes shorthand for a knowable masculine whiteness, privilege, and cluelessness. The Chinyaramwira women’s overfamiliarity with his “type” foreshortened familial bonding. Interestingly, the family’s desires for a deeper connection to African culture, however tenuous, was shared with the audience and provided a tie...

Just One of the Boys: Female-to-Male Cross-Dressing on the American Variety Stage by Gilliam M. Rodger

Reviewed by: Just One of the Boys: Female-to-Male Cross-Dressing on the American Variety Stage by Gilliam M. Rodger Franklin J. Lasik Just One of the Boys: Female-to-Male Cross-Dressing on the American Variety Stage. By Gilliam M. Rodger. Urbana: University of Illinois Press, 2018. pp. 275. $28.00 paper. In Gillian M. Rodger's first book, Champagne Charlie and Pretty Jemima (2010), the author traced the development of variety entertainment from the mid-nineteenth century to the early twentieth century. Exploring the class dynamics of the form's evolution, Rodger centered her study on Annie Hindle and Ella Wesner, two male impersonators whose careers brought into focus the changing relationship between class and gender, with implications regarding sexuality on the American stage. Her latest book, Just One of the Boys, is an extension of this text, looking specifically at male impersonation in American variety. While Rodger again focuses on Hindle and Wesner, she introduces a number of other male impersonators, examining their performance styles, repertoires, and audience receptions to illustrate changes in variety as a whole. Rodger also expands her investigation [End Page 225] to include male impersonators from English music hall, many of whom would also come to the United States. Chapter 1, "Female Hamlets and Romeos," begins with an introduction to female cross-dressing on the nineteenth-century American stage. While noting that some women were performing male roles in legitimate drama, Rodger emphasizes the different attitudes audiences took toward cross-dressing in variety. Where cross-dressing on the legitimate stage was tolerated as a novelty justified by the actresses' skill, variety's perceived "low-class" status rendered it more flexible, as women were not constrained by propriety from performing cross-gendered comedy. Hindle and Wesner make their first appearance in the second chapter, which discusses the emergence of the first male impersonators in variety. Rodger, who focuses on these two women "because together they established the performance ideal for American male impersonation that lasted until the end of the nineteenth century" (32), goes into detail about both performers' early public and private lives. While the author's description of their performance styles is interesting, it is her exploration of their private lives that I found most fascinating, especially when she teases Hindle's multiple marriages to women. Both chapters 3 and 4 look at male impersonation in the 1870s by introducing the reader to two performers, using them to examine challenges male impersonators faced in variety. In chapter 3, Rodger focuses on the economic impact of the Panic of 1873 by presenting Augusta Lamareaux and Blanche Selwyn, who along with Hindle and Wesner found it difficult to sustain bookings in the wake of the financial crisis. Chapter 4 continues to explore the impact of the Long Depression, using male impersonators Maggie Weston and Minnie Hall to investigate the changing audience tastes. Rodger notes that while male impersonation helped Weston and Hall get their starts, they were able to sustain careers "by being flexible and by moving away from the specialization of Annie Hindle and Ella Wesner" (89). Wesner's debut London season in 1876 serves as Rodger's entrée into an overview of male impersonation in English music halls, which are the focus of chapter 5. Citing the more established tradition of women playing male roles in English theatre, Rodger speculates that this conditioned audiences and "may have been responsible for their more feminine performance style" (106). This enhanced Wesner's popularity, as English audiences found her more masculine performance to be both novel and exotic. Chapter 6 marks a significant shift in variety entertainment in the 1880s, as financial concerns and audience shifts drove a growing concern with "decency." [End Page 226] This shift led variety managers to adopt "industrial models of entertainment" (115), which would eventually lead to the subspecialization of variety into vaudeville, burlesque, and other forms. While chapter 6 describes this increasing specialization, chapter 7 focuses specifically on male impersonation, returning again to Hindle and Wesner. Although both women persisted in their chosen specialty, neither was especially successful during this period, as both struggled to adapt to the new landscape. As Rodger notes, "There had never been...

Theaters of the Everyday: Aesthetic Democracy on the American Stage by Jacob Gallagher-Ross

Theaters of the Everyday: Aesthetic Democracy on the American Stage by Jacob Gallagher-Ross

Spectacular Men: Race, Gender, and Nation on the Early American Stage by Sarah E. Chinn

Spectacular Men: Race, Gender, and Nation on the Early American Stage by Sarah E. Chinn

Returning to Haifa by Ghassan Kanafani

Reviewed by: Returning to Haifa by Ghassan Kanafani Erica Stevens Abbitt RETURNING TO HAIFA. By Ghassan Kanafani. Adapted by Ismail Khalidi and Naomi Wallace. Directed by Caitlin McLeod. Finborough Theatre, London. March 3, 2018. The tempestuous political environment of 2018 was marked by the seventieth anniversary of what some celebrated as the founding of the state of Israel and others deplored as the Nakba (or “catastrophe”) of the Palestinian people. In this landmark year, an American stage adaptation of Returning to Haifa by the late Palestinian activist, author, and journalist Ghassan Kanafani challenged cherished assumptions about the progressive nature of contemporary US theatre. Remarkably sympathetic to both sides, Returning to Haifa was originally a novella, published a few years before Kanafani’s assassination by a car bomb in 1972. It concerns a Palestinian couple who drive across the Israeli border in 1967 searching for the home and infant son they were forced to leave behind twenty years earlier. Invited in by the elderly widow (and Holocaust survivor) who took over their property, they encounter a young man in an Israeli army uniform who embraces his Jewish identity and foster mother. The meeting is painful, awkward, and at times even humorous, but the ending seems inevitable. The couple leave Haifa without their long-lost son, wondering if the conflict will ever end. Kanafani’s story has been adapted for the stage in Denmark, Lebanon, and Israel, where the Cameri Theatre of Tel Aviv created a version in Arabic and Hebrew that toured to Theater J in Washington, D.C. In 2010, a “rogue” version in English was produced by Evanston’s Next Theatre, deepening the ethical debate on translation and the representation of Palestinian issues. American playwrights Naomi Wallace and Ismail Khalidi were granted the rights for a new adaptation by the Kanafani estate. Wallace, [End Page 106] a Kentucky-born, UK-based poet, screenwriter, and playwright, is best known for her dramas on class, war, labor, gender, and race (One Flea Spare, In the Heart of America, And I and Silence). Khalidi, a Palestinian American playwright (Tennis in Nablus, Truth Serum Blues), is currently writing works for Noor Theatre and Actors Theatre of Louisville. Click for larger view View full resolution Marlene Sidaway (Miriam), Myriam Acharki (Safiyya), and Ammar Haj Ahmad (Said) in Returning to Haifa. (Photo: Scott Rylander, courtesy of Lynne McConway Productions.) The Khalidi/Wallace version of Returning to Haifa was supported by a commission from New York’s Public Theater, where artistic director Oskar Eustis planned to direct it. After a successful reading, the production stalled in 2016, several months before the US election. According to the playwrights, although the Public cited scheduling issues, the decision was actually prompted by board members concerned with the risk of presenting a play on Palestinian themes. UK independent producer Lynne McConway and director Caitlin McLeod stepped in, offering to present the work at London’s Fin-borough Theatre, a fifty-seat venue renowned for its advocacy of contemporary British, American, and Canadian drama. For the world premiere of the newly adapted Returning to Haifa, a resourceful British team concentrated on turning the challenge of an unanticipated change of venue (and country) to advantage. Although set in the midst of large events, the play is tightly focused in scope. McLeod and her design team wisely configured the tiny space at their disposal into an inviting central area with a minimalist set (designed, along with costumes, by Rosie Elnile). Representing home, exile, and the journey in between, it was saturated by warm Mediterranean light (Joshua Gadsby) and enhanced by a soundscape evoking city and sea (David Gregory). The actors, surrounded on all sides by spectators, moved fluidly around one another in a vivid interplay between past and present (the movement director was Lanre Malaolu). Said (played by Ammar Haj Ahmad) was rumpled, charming, angry, and self-deprecating in turn. Ahmad’s virtuosity with language drove the tempo of the play, which is also about the ability (and inability) to communicate when political rhetoric encounters emotion. Said’s wife, Safiyya (Myriam Acharki), came to life in the stage version with a beautifully observed performance of a spouse sparring with her excitable husband while...

The Theatre of Eugene O’Neill: American Modernism on the World Stage by Kurt Eisen

Reviewed by: The Theatre of Eugene O’Neill: American Modernism on the World Stage by Kurt Eisen Aaron Scully The Theatre of Eugene O’Neill: American Modernism on the World Stage. By Kurt Eisen. Bloomsbury Methuen Drama, 2018. Cloth $91.80, Paper $26.96. xiii + 241 pages. Kurt Eisen’s The Theatre of Eugene O’Neill: American Modernism on the World Stage is a fascinating examination of O’Neill’s works, situated in the context of the modernization of the American theatre during the first half of the twentieth century. By utilizing O’Neill’s evolution as a wary social progressive grappling with competing forces—including his appreciation of traditional theatre techniques, his desire to contribute to social progress, the advancement of the American stage, and his quiet yet apparent need for adulation—Eisen constructs an analysis that is well worth the read for not only theatre scholars but anyone interested in O’Neill or theatre during O’Neill’s career. Through the lens of American modernism, which Eisen defines as “an ideological and aesthetic response to how . . . new possibilities had been realized in the nineteenth and twentieth centuries, reflecting a fundamental change in the nature of experience itself amid rapid changes of modernized, often mechanical society, frequently critical but at times celebratory of those changes” (7), the author effectively places O’Neill in the middle of modernism and describes, through his plays, how O’Neill both reacted to and facilitated the modernization of American theatre. The book is organized into seven chapters and a conclusion. Eisen begins by first defining and contextualizing American modernism. In the first chapter, he places the young O’Neill in the middle of the evolving American theatrical landscape, providing crucial insight into O’Neill’s early years and his decision to become a playwright. Chapter 2, “A Modernist in the Making: O’Neill Before Broadway,” is a chronological analysis of O’Neill’s playwriting and its relationship to American modernization prior to his Pulitzer-Prize winning production of The Emperor Jones. Chapter 3 delves into O’Neill as a reactionary to the revolutionary social progressiveness of the 1920s and 1930s with his plays The Hairy Ape, Lazarus Laughed, Days without End, and The Iceman Cometh. Eisen states that with these plays O’Neill is “reflecting not a revolutionary vision but a sympathetic iconoclasm in its image of society constructed of many sustaining if illusory narratives” (49). Chapter 4, “New Women, Male Destinies: The ‘Woman Plays,’” is perhaps Eisen’s most successful chapter, as he smartly discusses O’Neill’s drama in response to “the emergence of women from the home into the public sphere” (71). Two of the plays analyzed in this chapter are Anna Christie and what Eisen deems O’Neill’s “woman play”: Strange Interlude. With Strange Interlude, Eisen declares that “No play more fully conveys O’Neill’s ambition as a modernist in its relentless imposition of form on experience, and thus reveals his inescapable involvement with the American modernity that he generally sought to critique, as well as his obsession with the feminine anima he persistently sought both to reveal and to [End Page 125] contain” (83). Chapter 5, “‘Souls under Skins’: Masks, Race, and the Divided Self,” is an engrossing examination of O’Neill’s fascination with the convergence of the science of psychoanalysis and the advent of cultural anthropology, and of how these fields related to black experiences in America. “O’Neill himself was less interested in any solution to black urban problems than in how his predominantly white audience would feel the emotional impact of this representation, however stereotyped and sensationalized, of lives uprooted from the tradition that once gave them identity and meaning” (98). Chapter 6, “Transience and Tradition: O’Neill’s Modern Families,” considers the plays Beyond the Horizon, Mourning Becomes Electra, Ah! Wilderness, and Long Day’s Journey into Night, and how these plays illuminate O’Neill’s belief that the American family was the “primary force resisting modernity and its ideal of wholeness that can repair a divided modern self” (144). In his analysis of Long Day’s Journey, Eisen profoundly states that O’Neill’s use of the mother’s “drug-induced...

Hideous Characters and Beautiful Pagans: Performing Jewish Identity on the Antebellum American Stage by Heather S. Nathans

Hideous Characters and Beautiful Pagans: Performing Jewish Identity on the Antebellum American Stage by Heather S. Nathans

Headfirst into an Abyss: The Politics and Political Reception of Hamilton

Research Article| December 01 2018 Headfirst into an Abyss: The Politics and Political Reception of Hamilton Elizabeth Titrington Craft Elizabeth Titrington Craft Elizabeth Titrington Craft is an assistant professor of music at the University of Utah, where she teaches courses on twentieth- and twenty-first-century music, music of the United States, musical theater, and opera. Her research examines musical theater from the early twentieth century to the present, focusing on racial and ethnic representation, immigrant narratives, constructions of nationhood, marketing, and reception. Her published work appears in Studies in Musical Theatre, The Critical Companion to the American Stage Musical, and Crosscurrents: American and European Music in Interaction, 1900-2000. She received her PhD in historical musicology from Harvard University. Search for other works by this author on: This Site Google American Music (2018) 36 (4): 429–447. https://doi.org/10.5406/americanmusic.36.4.0429 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Elizabeth Titrington Craft; Headfirst into an Abyss: The Politics and Political Reception of Hamilton. American Music 1 January 2018; 36 (4): 429–447. doi: https://doi.org/10.5406/americanmusic.36.4.0429 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressAmerican Music Search Advanced Search The text of this article is only available as a PDF. Copyright 2019 by the Board of Trustees of the University of Illinois2019 Article PDF first page preview Close Modal You do not currently have access to this content.

Espacio, Forma y Estructura en la casa 50x50' de Mies van der Rohe

During the American stage of Mies the beauty of the constructive precision and the essentiality of space is emphasized, which subordinates the program to formal purity. Form is not invented, nor is it the corollary of function or technology, but is the result of placing transcendent and timeless values on secondary issues. The architect must establish an order that assures the formality of the work, but in modernity the systematic classicist rules no longer run. So the goodness of the result is a consequence of the ability of the architect and the user to share visual codes. The effort of Mies in this stage will be to establish certain certainties, universal and clear, developed around the relation among space, structure and shape. The Fifty by Fifty feet house marks a turning point in these intentions and points the path of his latest works.

Review: Spectacular Men: Race, Gender, and Nation on the Early American Stage by Sarah E. Chinn

Review: Spectacular Men: Race, Gender, and Nation on the Early American Stage by Sarah E. Chinn

Hideous Characters &amp; Beautiful Pagans: Performing Jewish Identity on the Antebellum American Stage. By Heather S. Nathans. Ann Arbor: University of Michigan Press, 2017; pp. 296, 8 illustrations. $70 cloth, $54.95 e-book.

Hideous Characters &amp; Beautiful Pagans: Performing Jewish Identity on the Antebellum American Stage. By Heather S. Nathans. Ann Arbor: University of Michigan Press, 2017; pp. 296, 8 illustrations. 54.95 e-book. - Volume 59 Issue 3

Spectacular Men: Race, Gender, and Nation on the Early American Stage

Spectacular Men: Race, Gender, and Nation on the Early American Stage

Linguliform brachiopods across a Cambrian–Ordovician (Furongian, Early Ordovician) biomere boundary: the Sunwaptan–Skullrockian North American Stage boundary in the Wilberns and Tanyard formations of central Texas

AbstractThe Cambrian-Ordovician Diversity Plateau, between the Cambrian Explosion and the Ordovician Radiation, is punctuated by a series of well-documented Laurentian trilobite extinction events. These events define the bounding surfaces of trilobite ‘biomeres’ that correspond to North American stages, including those of the Sunwaptan and Skullrockian. Trilobites show a consistent pattern of recovery across these boundaries, and commonly each extinction and replacement of taxa is interpreted as a single event as changing environmental conditions spurred shoreward migration of shelf or oceanic faunas that displaced established cratonic faunas. Linguliform brachiopods are also abundant in strata of this interval, and we investigate their stratigraphic distribution across the Sunwaptan–Skullrockian Stage boundary in Texas through high-resolution stratigraphic sampling of subtidal sediments. We document complete genus- and species-level turnover of the linguliform brachiopod fauna coincident with trilobite extinction events, suggesting that these brachiopods were affected by the same factors that affected trilobites. The Skullrockian replacement fauna was cosmopolitan, with ties to Gondwana and Kazakhstan and to the Laurentian shelf environment. The timing of appearances of taxa suggests that the faunal migration onto the Laurentian shelf came from elsewhere during a transgression. The disappearance of the Sunwaptan fauna and the arrival of the Skullrockian fauna are distinct events. We suggest that ‘biomere’ events may be complex, and the cause of the extinction is not necessarily the same event that facilitates the appearance of a replacement fauna. We describe one new species,Schizambon langei.UUID:http://zoobank.org/f6a5c11f-cd3d-4c16-b184-d808d3a5285f

Cheryl Black and Jonathan Shandell, eds., Experiments in Democracy: Interracial and Cross-Cultural Exchange in American Theatre, 1912–1945

Experiments in Democracy assembles thirteen essays illustrating how the American stage cultivated and complicated cross-cultural dialogues about democracy before the civil rights movement. It addresses the role of performance in fostering inclusivity and social justice by highlighting representative works, including dance drama, radio drama, scripted political rallies, and Broadway shows.

Talking Machine West: A History and Catalogue of Tin Pan Alley’s Western Recordings, 1902–1918. American Popular Music Series. By Michael A. Amundson

Music historians generally agree that the first recording of a western or “cowboy” song was “Jesse James” by concert singer Bentley Ball in 1919, while Carl Sprague, who waxed “When the Work’s All Done this Fall” in 1925, was the first authentic cowboy to record. In this new book, Michael A. Amundson explores the phonograph industry’s earlier recordings of western-themed material. This material sprang from the pens of professional songwriters based in New York and the performances were by vaudeville performers such as Billy Murray, Ada Jones, and Len Spencer, none of whom had experience in the West beyond singing in regional theaters. Talking Machine West is divided into three sections. The first discusses the author’s engagement with popular music history, exploring early recording equipment and processes with a focus on cylinder recordings. Next, Amundson provides an overview of the early recording industry, the idea of the West in popular culture, and places western themed recordings within that context. Important factors in emergence of popular images of the West are Buffalo Bill’s Wild West Show, western tourism, and influence of Theodore Roosevelt and Frederick Jackson Turner. Equally important in the writing of popular music was the rise of blackface minstrel and ethnic imagery. These factors merge into an examination of the songs and recordings themselves. Amundson is particularly adept at outlining the types of songs represented in the catalogue “including cowboy poetry, western skits, cowboy songs, love songs, Indian songs, Wild West show songs, cowgirl songs, and both cowboy and Indian ragtime dance songs” (p. 45). Racial and ethnic attitudes, common on the early twentieth-century American stage, find discussion and show that Western compositions were not immune to those trends.

The Restoration of the Spirituality of Blackness In "Everett LeRoi Jones’s Selected Plays"

LeRoi Jones (Imamu Amiri Baraka, 1943-2014) is one of the American literary men whose drama rocked the American stage with its violence and innovative vision. His ups and downs in life as well as his changing political phases formed his theatrical vision and influenced his audience. This research is an attempt to explore his views at a certain era in his career through studying three selected plays; The Toilet(1964),The Slave Ship(1967),and The Motion of History(1977).