scholarly journals Notes

2019 ◽  
Vol 1 ◽  
Author(s):  
Michael J. Downing

American Century Cycle This note relates to the Journal's terminology involving the cycle of ten plays that August Wilson wrote commonly known as the "Pittsburgh Cycle" or the "Century Cycle." At the 2018 August Wilson Society Colloquium held at the August Wilson Center in Pittsburgh, Pennsylvania, Constanza Romero, August's widow and coordinator of the August Wilson Estate, said to the group that her preference, going forward, is that the phrase "August Wilson's American Century Cycle" be used to refer to those ten plays. Being Pittsburghers, David and I you both love the term, "Pittsburgh Cycle," but we also understand that it is not entirely accurate as Ma Rainey's Black Bottom is set in Chicago. Therefore, all references to Wilson's cycle in the August Wilson Journal will be standardized as the "August Wilson American Century Cycle," "August Wilson's American Century Cycle," or shortened to "American Century Cycle."

2020 ◽  
Vol 2 ◽  
Author(s):  
Skyler Easton Saunders

This essay is a meditation on the significant number of carceral references made by the late Mr. August Wilson in his American Century Cycle. It sets out to delineate the various instances where Mr. Wilson mentions the many associated pains, both mental and corporal, that crop up in lives of his characters, related to prisons, jail, work farms, chain gangs and other forms of detainment and imprisonment.


2021 ◽  
Vol 2 ◽  
Author(s):  
August Wilson Journal Editors

The article Saunders, Skyler. "Unlocked Minds: August Wilson’s Suspects, Ex-Cons, or Soon-to-Be Convicted Characters in his American Century Cycle." August Wilson Journal [Online], 2 (2020): https://doi.org.10.5195/awj.2020.55 contained several errors in the original publication. The original version has been updated to reflect the following changes: On page 1, the following sentence has been removed: “Black Lives Matter Foundation, Inc is a global organization in the US, UK, and Canada, whose mission is to eradicate white supremacy and build local power to intervene in violence inflicted on Black communities by the state and vigilantes.” The Black Lives Matter group is not about individual rights but is run by Marxists. The error was introduced by the editorial board. On page 3, the following section has been removed: “As of this writing, Blacks make up about 2.3 million of the 6.8 million or about 34% of incarcerated individuals, according to the NAACP. Former president of this organization Benjamin Jealous said, “Our country has five percent of the world's people and 25 percent of the world's prisoners. Now, you can flip that a different way, a Black person today in this country is more likely to be incarcerated than a Black person in South Africa at the height of apartheid” (NAACP)”. There are in fact not 6.8 million incarcerated people in the US. There are actually 2.3 million people behind bars. The error was introduced by the author.


2019 ◽  
Vol 1 ◽  
Author(s):  
Mark Whitaker

In his opening address to attendees of the August Wilson Colloquium, Mark Whitaker—from his perspective as author of Smoketown—discusses the research he conducted and the subsequent incorporation of the topic of August Wilson into his book.  Beginning with the assertion that that Wilson’s family story "fits the larger pattern of migrants from the northern part of the Old South who arrived in Pittsburgh with a respect for literacy and religious discipline," Whitaker contrasts the history of  black Pittsburgh as reported in the pages of The Pittsburgh Courier with the metaphorical representations in Wilson's American Century Cycle. 


2004 ◽  
Author(s):  
Sandra Shannon ◽  
Dana Williams

2010 ◽  
Author(s):  
AUGUST WILSON
Keyword(s):  

Author(s):  
Eileen J. Herrmann

Realism in American drama has proved its resiliency from its inception at the end of the nineteenth century to its transformation into modern theater in the twentieth century. This chapter delineates the evolution of American realistic drama from the influence of European theater and its adaptation by American artists such as James A. Herne and Rachel Crothers. Flexible enough to admit the expressionistic techniques crafted by Susan Glaspell and Eugene O’Neill and leading to the “subjective realism” of Tennessee Williams and Arthur Miller, realism has provided a wide foundation for subsequent playwrights such as David Mamet, August Wilson, and Sam Shepard to experiment with its form and language.


2001 ◽  
Vol 74 (3) ◽  
pp. 514
Author(s):  
Joseph P. DeMarco ◽  
David Levering Lewis
Keyword(s):  
Du Bois ◽  

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