By M. Schwartz

Through an exam of performs, actors, experiences, and viewers reaction of the interval, this examine lines the advance of Broadway as a resource of 'mature' American drama, and the simultaneous improvement of Professional-Managerial classification awareness and habitus.

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Race was at once biological and cultural, inherited and acquired. Race identified, depending on context, both a category and a consciousness” (Roediger 35). Thus, each “outsider” group, occupying what Roediger calls an “in-between” position between races, had to consciously embrace the concept of “Whiteness” in order to be considered white (20–21). In many cases, this embrace entailed approving The Growth of Broadway, Emergence of PMC 31 of and participating in discrimination against blacks. As Noel Ignatiev writes in How the Irish Became White, “They [the Irish] came to a society in which color was important in determining social position.

These changes simultaneously reflected, and were effected by, the PMC. ”26 Pianos were still an advertising presence, but not as dominant as before—one or two moderate ads now surfaced in the programs, as opposed to the several large ones (including full-page back cover ads) that typically appeared in the 1990s and early twentieth century. Roughly speaking, in terms of size and quantity of ads, it is fair to say that ads for cars, tires, and automotive supplies were taking the place of the piano ads.

They deny (and offer the works of Augustus Thomas in proof) that life as O’Neill pictures it is just that way. And when, as in the case of “Anna Christie,” he does not see life “that way,” but sees it with a touch of rainbow athwart its skies, they recall his past work and snicker self-satisfiedly [sic] that he has arbitrarily stuck a theatrical happy ending on to his play. (79–80) In denouncing criticism that attempted to “straddle” both sides of the issue regarding O’Neill, or any issue, Nathan made clear his personal critical credo: “Criticism may straddle nothing.

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