Signatures of the Past

Contents: Marc Maufort: Signatures of Cultural Memory - Craig Walker: «Hopeful Monsters and Doomed Freaks.» Evolutionary Overtones in Canadian and American Drama - Harry J. Elam, Jr.: Remembering Africa, Performing Cultural Memory. Lorraine Hansberry, Suzan-Lori Parks and Djanet Sears - Ric Knowles: Performing Intercultural Memory in the Diasporic Present. The Case of Toronto - Jacqueline Petropoulos: «The Ground On Which I Stand.» Rewriting History, African Canadian Style - Michele Elam: Mixed Race and Cultural Memory. Carl Hancock Rux's Talk - Jerry Wasserman: Remembering Agraba. Canadian Political Theatre and the Construction of Cultural Memory - Guillermo Verdecchia: Contending with Rupture. Memory-work in Latina-Canadian Playwriting - Phil Howard: La Tierra, Nuestra Madre. Land, Burial, Memory and Chicanidad in the Dramaturgies of Alfaro, Moraga, and Sanchez-Scott - Micaela Díaz-Sánchez: Impossible Patriots. The Exiled Queer Citizen in Cherríe Moraga's The Hungry Woman: A Mexican Medea - Cherríe L. Moraga: Indígena as Scribe. The (W)rite to Remember - Celia Herrera Rodríguez: Cositas Quebradas: Performance Codex - Mary Blackstone: «Prior Was Here.» Renegotiating a Role for the Ghost of Cultural Memory in Four Cree Plays - Sheila Rabillard: «Being in a memory but present in time.» Re-inscription of Multiple Memories in Marie Clement's The Unnatural and Accidental Women - Sammie Choy: The Bones Perform. Ola Na Iwi and the Viability of Memory - Ginny Ratsoy: The Creation of Shifting Local Identities. Historically-Based Theatre in a Canadian Small City - Roberta Mock: Memories, Hauntings and Exorcisms in Brad Fraser's Snake in Fridge - Susan Kattwinkel: Spreading American Feminism. The Vagina Monologues and Cultural Identitiy - Birgit Schreyer Duarte: «Suddenly, Canada is hot.» Memories of Canadian Identity Construction as Cultural Export in Michael Healey's The Drawer Boy - Caroline De Wagter: Re-configuring Cultural Memory in Chay Yew's Wonderland and M.J. Kang's

The Editors: Marc Maufort is a Professor of English, American and postcolonial literature at the University of Brussels. He is the author of two monographs: Songs of American Experience. The Vision of O'Neill and Melville (1990), and Transgressive Itineraries. Postcolonial Hybridizations of Dramatic Realism (2003). He has edited or co-edited a number of critical anthologies, including Performing Aotearoa. New Zealand Theatre and Drama in an Age of Transition (2007).
Caroline De Wagter is a Research Fellow with the Belgian National Fund for Scientific Research at the University of Brussels. She holds an M.A. in Drama from Stanford University. Her current doctoral research concentrates on the negotiation of imagined identities in contemporary Canadian and American drama. She has published several articles in anthologies and journals such as Reading Without Maps?, The Making of Canada: A European Perspective, BELL, and Interlitteraria.

«This is a substantial book, but one which makes riveting reading as its editors shape a rich narrative that is fuelled by the collective energy of its contributors. 'Signatures of the Past' makes an outstanding contribution to knowledge and debates around the shifts and changes occurring in the dramatic, theatrical and performative traditions of Canada and the USA.» (David O'Donnell, Australasian Drama Studies)