Césaire, Aimé | Copyright Page
ISSN 1056-4349
Criticism of the Most Significant and Widely Studied Dramatic Works from All the World’s Literatures
VOLUME 22
Timothy J. Sisler Project Editor
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Drama Criticism, Vol. 22
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Acknowledgments
The editors wish to thank the copyright holders of the excerpted criticism included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. We are also grateful to the staffs of the Detroit Public Library, the Library of Congress, the University of Detroit Mercy Library, Wayne State University Purdy/Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Following is a list of the copyright holders who have granted us permission to reproduce material in this volume of DC. Every effort has been made to trace copyright, but if omissions have been made, please let us know.
COPYRIGHTED MATERIAL IN DC, VOLUME 22, WAS REPRODUCED FROM THE FOLLOWING PERIODICALS:
American Drama, v. 8, spring, 1999; v. 11, 2002. Copyright © 1999, 2002 by American Drama Institute. Both reproduced by permission.—American Music, v. 5, fall, 1987; v. 9, winter, 1991. Copyright © 1987, 1991 by the Board of Trustees of the University of Illinois. Both reproduced by permission.—American Theatre, v. 9, 1992. Copyright © by 1992 by Theatre Communications Group. All rights reserved. Reproduced by permission.—Arizona Quarterly, v. 48, winter, 1992 for “Playing Caliban: Césaire’s Tempest” by Joan Dayan. Copyright © 1992 by the Regents of the University of Arizona. Reproduced by permission of the publisher and the author.—CLA Journal, v. 14, June, 1971; v. 30, December, 1986; v. 35, June, 1992. Copyright © 1971, 1986, 1992 by the College Language Association. All reproduced by permission.—College Literature, v. 25, spring, 1998. Copyright © 1998 by West Chester University. Reproduced by permission.—Critical Quarterly, summer, 1976. Reproduced by permission of Blackwell Publishers.—English Review, v. 11, February, 2001. Copyright © 2001 by Philip Allan Updates. Reproduced by permission.—The French Review, v. 74, December, 2000. Copyright © 2000 by the American Association of Teachers of French. Reproduced by permission.—French Studies, v. 48, October, 1994 for “Questions of Intertextuality in La tragedie du roi Christophe” by Roger Little. Copyright © 1994 by The Society for French Studies. Reproduced by permission of The Society for French Studies.—Harper’s, v. 258, April, 1979. Copyright © 1979 by Harper’s Magazine. All rights reserved. Reproduced from the April edition by special permission.—Journal of American Drama and Theatre, v. 3, spring, 1991. Copyright © 1991 by CASTA, CUNY Graduate School. Reproduced by permission.—Journal of Beckett Studies, v. 10, fall, 2000-spring, 2001. Reproduced by permission.—Journal of Dramatic Theory and Criticism, v. 16, fall, 2001 for “The Biblical Subtext in Beckett’s Waiting for Godot” by Ann Bugliani. Reproduced by permission of the author.—Journal of Homosexuality, v. 26, 1993. Copyright © 1993 by The Hawthorn Press Inc. All rights reserved. Reproduced by permission.—Journal of Popular Culture, v. 12, winter, 1978. Copyright © 1978 by Ray B. Browne. All rights reserved. Reproduced by permission of Blackwell Publishers.—Kentucky Romance Quarterly, v. 16, 1969. Copyright © 1969 by Helen Dwight Reid Educational Foundation. Reproduced with permission of the Helen Dwight Reid Educational Foundation, published by Heldref Publications, 1319 18th Street, NW, Washington, DC 20036-1802.—Modern Drama, v. 40, winter, 1997. Copyright © 1997 by the University of Toronto, Graduate Centre for Study of Drama. Reproduced by permission.—Modern Language Review, v. 95, January, 2000. Copyright © 2000 by Modern Humanities Research Association. Reproduced by permission of the publisher.—The Musical Times, v. 128, September, 1987. Reproduced by permission.—Présence Africaine, v. 93, 1975. All rights reserved. Reproduced by permission.—Raritan, v. 7, fall, 1987. Copyright © 1987 by Raritan: A Quarterly Review. Reproduced by permission.— Samuel Beckett Today, v. 6, 1997; v. 7, 1998. Copyright © 1997, 1998 by Editions Rodopi B. V. Reproduced by permission.—Studies in the Literary Imagination, v. 34, fall, 2001. Copyright © 2001 by Department of English, Georgia State University. Reproduced by permission.
COPYRIGHTED MATERIAL IN DC, VOLUME 22, WAS REPRODUCED FROM THE FOLLOWING BOOKS:
Alarcón, Norma. From “Making Familia from Scratch: Split Subjectives in the Work of Helena Maria Viramontes and Cherríe Moraga,” in Chicana Creativity and Criticism: Charting New Frontiers in American Literature. Edited by Maria Herrera-Sobek and Helena Maria Viramontes. Arte Público Press, 1988. Copyright © 1988 by Arte Público Press— University of Houston. Reproduced by permission.—Block, Geoffrey. From Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim. Oxford University Press, 1997. Copyright © 1997 by Oxford University Press, Inc. Used by permission Oxford University Press.—Connor, Steven. From “‘What? Where?’ Presence and Repetition in Beckett’s Theatre,” in Rethinking Beckett: A Collection of Critical Essays. Edited by Lance St. John Butler and Robin J. Davis. St
Martin’s Press, 1990. Copyright © 1990 by The Macmillan Press. Reproduced by permission of St. Martin’s Press, LLC.— Elam, Keir. From “Dead Heads: Damnation-Narration in the ‘Dramaticules,’” in The Cambridge Companion to Beckett. Edited by John Pilling. Cambridge University Press, 1994. Copyright © 1994 by Cambridge University Press. Reproduced by permission of Cambridge University Press.—Guicharn, Jacques and June Beckelman. From Modern French Theatre: From Giraudoux to Beckett. Yale University Press, 1961. Copyright © 1961 by Yale University Press; renewed 1989 by Jacques Guicharn. All rights reserved. Reproduced by permission of Yale University Press.—Huerta, Jorge. From Chicano Dream: Performance, Society and Myth. Cambridge University Press, 2000. Copyright © 2000 by Jorge Huerta. Reproduced by permission of Cambridge University Press.—Ikas, Karin Rosa. From Chicana Ways: Conversations with Ten Chicana Writers. University of Nevada Press, 2002. Copyright © 2002 by University of Nevada Press. All rights reserved. Reproduced by permission.—Lewis, David H. From Broadway Musicals: A Hundred Year History. McFarland & Co., Inc., Publishers, 2002. Copyright © 2002 by David H. Lewis. Reproduced by permission of McFarland & Company, Inc., Box 611, Jefferson NC 28640. ww.mcfarlandpub.com.—Livingston, Robert Eric. From “Decolonizing the Theatre: Césaire, Serreau and the Drama of Negritude,” in Imperialism and Theatre: Essays on World Theatre, Drama, and Performance 1795-1995. Edited by J. Ellen Gainer. Routledge, 1995. Copyright © 1995 by Robert Eric Livingston. Reproduced by permission of the publisher and the author.—Nesbitt, Nick. From Voicing Memory: History and Subjectivity in French Caribbean Literature. University of Virginia Press, 2003. Copyright © 2003 by the Rectors and Visitors of the University of Virginia. Reproduced by permission of the University of Virginia Press.—Pallister, Janis L. From Aimé Césaire. Twayne Publishers, 1991. Copyright © 1991 by Twayne Publishers. Reproduced by permission of the Gale Group.—Rix, Lucy. From “Maintaining the State of Emergenc/y: Aimé Césaire’s Une tempête,” in The Tempest and Its Travels. Edited by Peter Hulme and William H. Sherman. Reaktion Books, 2000. Reproduced by permission.—Xavier, M.
J. N. A. From “A Study of the Theme of Rebirth in the Tragedies of Aimé Césaire,” in Garcia Marquez and Latin America. Edited by Alok Bhalla. Envoy Press, 1987. Copyright © 1987 by Alok Bhalla. Reproduced by permission of Sterling Publishers Private Limited.—Yarbro-Bejarano, Yvonne. From “Cherríe Moraga’s ‘Shadow of a Man’: Touching the Wound in Order to Heal,” in Acting Out: Feminist Performances. Edited by Lynda Hart and Peggy Phelan. University of Michigan Press, 1993. Copyright © 1993 by University of Michigan. All rights reserved. Reproduced by permission.
PHOTOGRAPHS APPEARING IN DC, VOLUME 22, WERE RECEIVED FROM THE FOLLOWING SOURCES:
Beckett, Samuel, photograph. Copyright © by Jerry Bauer. Reproduced by permission.—Césaire, Aimé, photograph. Copyright © AP/Wide World Photos. Reproduced by permission.—Sondheim, Stephen, photograph. Copyright © by Hulton-Deutsch Collection/Corbis. Reproduced by permission.
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