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Under Lynching's Shadow: Grimké's Call for Domestic Reconfiguration in "Rachel"

African American review, 2014-06, Vol.47 (2/3), p.391-402

Jansen, Anne Mai Yee

2014

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A Different Integration: Race and Disability in Early-Twentieth-Century African American Drama by Women

Legacy (Amherst, Mass.), 2013-01, Vol.30 (1), p.151-171

Fox, Ann M

2013

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"Speakin Arms" and Dancing Bodies in Ntozake Shange

African American review, 2013-07, Vol.46 (2/3), p.329-343

Mahurin, Sarah

2013

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Suzan-Lori Parks: Rearticulating the Laws of Race and Gender in African American History

South Atlantic review, 2011-03, Vol.76 (2), p.65-91

Guran, Letitia

2011

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The Cambridge Companion to African American Theatre

Young, Harvey

2012

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Anti-Lynch Plays by African American Women: Race, Gender, and Social Protest in American Drama

African American review, 1992-07, Vol.26 (2), p.329-339

Stephens, Judith L.

1992

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Conflicting Impulses in the Plays of Ntozake Shange

Black American literature forum, 1983-07, Vol.17 (2), p.73-78

Richards, Sandra L.

1983

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Signifying in the wilderness: Alice Childress and the Black Arts Movement

The Journal of American drama and theatre, 2013, Vol.25 (1), p.27-53

blackchild, cfrancis

2013

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A Note on the Limits of Interpretation: Thoughts on Recent Miller Productions

The Arthur Miller journal, 2017-04, Vol.12 (1), p.42-51

Palmer, David

2017

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An autoethnographic reading of Djanet Sears's The Adventures of a Black Girl in Search of God

Theatre research in Canada, 2015-03, Vol.36 (1), p.73-88

Keleta-Mae, Naila

2015

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Staging a New Literary History: Suzan-Lori Parks's Venus, In the Blood, and Fucking A

Comparative drama, 2008-07, Vol.42 (2), p.181-203

Schafer, Carol

2008

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"She Make You Right with Yourself": Aunt Ester, Masculine Loss and Cultural Redemption in August Wilson's Cycle Plays

College literature, 2009-04, Vol.36 (2), p.74-95

2009

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Du Bois's Forgotten Plays

African American review, 2017-10, Vol.50 (3), p.309-319

Lokke, Geoffrey

2017

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Casting the Bones of Willa Mae Beede: Passing and Performativity in Suzan-Lori Parks's "Getting Mother's Body"

Tulsa studies in women's literature, 2011-04, Vol.30 (1), p.141-157

Wright, Laura

2011

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"Fasten Your Shackles": Remembering Slavery and Laughing about It in George C. Wolfe's The Colored Museum

African American review, 2012-09, Vol.45 (3), p.355-369

Knight, Christina

2012

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"FEET, DON'T FAIL ME NOW": PLACE AND DISPLACEMENT IN BLACK WOMEN'S PLAYS FROM THE UNITED STATES, SOUTH AFRICA, AND ENGLAND

CLA journal, 2006-06, Vol.49 (4), p.383-405

Brown-Guillory, Elizabeth

2006

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Framing African American Cultural Identity: The Bookends Plays in August Wilson's 10-Play Cycle

College literature, 2009-04, Vol.36 (2), p.26-39

Shannon, Sandra G.

2009

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Black Women on Broadway: The Duality of Lorraine Hansberry's A Raisin in the Sun and Ntozake Shange's for colored girls

American drama, 2006-06, Vol.15 (2), p.30-91

Mafe, Diana Adesola

2006

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Gender, Authenticity, and Diasporic Identities in Adebayo's "Moj of the Antarctic" and Iizuka's "36 Views"

Comparative drama, 2015-07, Vol.49 (2), p.191-224

Moll, Ellen

2015

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AUGUST WILSON IN THE "CITY THAT ENCOURAGES DREAMS"

The Sewanee review, 2015-06, Vol.123 (3), p.507-512

LACY, ROBERT

2015

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To Be(come) Young, Gay, and Black: Lorraine Hansberry's Existentialist Routes to Anticolonialism

American quarterly, 2008-12, Vol.60 (4), p.899-924

Higashida, Cheryl

2008

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Langston Hughes and Performing Transnational Presence: "Scottsboro Limited" and "Harvest"

Comparative drama, 2015-10, Vol.49 (3), p.259-287

Tougas, Ramona

2015

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Dramatic Deception and Black Identity in "The First One" and "Riding the Goat"

African American review, 2005-03, Vol.39 (1/2), p.55-66

Hagood, Taylor

2005

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The Radical Formalism of Suzan-Lori Parks and Sarah Kane

Theatre survey, 2015-05, Vol.56 (2), p.213-231

Mihaylova, Stefka

2015

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"Their Baggage a Long Line of Separation and Dispersement": Haunting and Trans-Generational Trauma in "Joe Turner's Come and Gone"

College literature, 2009-04, Vol.36 (2), p.96-116

Grant, Sinikka

2009

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Under Lynching's Shadow: Grimké's Call for Domestic Reconfiguration in "Rachel"

A Different Integration: Race and Disability in Early-Twentieth-Century African American Drama by Women

"Speakin Arms" and Dancing Bodies in Ntozake Shange

Suzan-Lori Parks: Rearticulating the Laws of Race and Gender in African American History

The Cambridge Companion to African American Theatre

Anti-Lynch Plays by African American Women: Race, Gender, and Social Protest in American Drama

Conflicting Impulses in the Plays of Ntozake Shange

Signifying in the wilderness: Alice Childress and the Black Arts Movement

A Note on the Limits of Interpretation: Thoughts on Recent Miller Productions

An autoethnographic reading of Djanet Sears's The Adventures of a Black Girl in Search of God

Staging a New Literary History: Suzan-Lori Parks's Venus, In the Blood, and Fucking A

"She Make You Right with Yourself": Aunt Ester, Masculine Loss and Cultural Redemption in August Wilson's Cycle Plays

Du Bois's Forgotten Plays

Casting the Bones of Willa Mae Beede: Passing and Performativity in Suzan-Lori Parks's "Getting Mother's Body"

"Fasten Your Shackles": Remembering Slavery and Laughing about It in George C. Wolfe's The Colored Museum

"FEET, DON'T FAIL ME NOW": PLACE AND DISPLACEMENT IN BLACK WOMEN'S PLAYS FROM THE UNITED STATES, SOUTH AFRICA, AND ENGLAND

Framing African American Cultural Identity: The Bookends Plays in August Wilson's 10-Play Cycle

Black Women on Broadway: The Duality of Lorraine Hansberry's A Raisin in the Sun and Ntozake Shange's for colored girls

Gender, Authenticity, and Diasporic Identities in Adebayo's "Moj of the Antarctic" and Iizuka's "36 Views"

AUGUST WILSON IN THE "CITY THAT ENCOURAGES DREAMS"

To Be(come) Young, Gay, and Black: Lorraine Hansberry's Existentialist Routes to Anticolonialism

Langston Hughes and Performing Transnational Presence: "Scottsboro Limited" and "Harvest"

Dramatic Deception and Black Identity in "The First One" and "Riding the Goat"

The Radical Formalism of Suzan-Lori Parks and Sarah Kane

"Their Baggage a Long Line of Separation and Dispersement": Haunting and Trans-Generational Trauma in "Joe Turner's Come and Gone"

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