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Theatre Society and the Nation Staging American
Identities First Edition S. E. Wilmer Digital Instant
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Author(s): S. E. Wilmer
ISBN(s): 9780521802642, 052105088X
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 Theatre, Society and the Nation: Staging
American Identities

Theatre has often served as a touchstone for moments of political change or national
definition and as a way of exploring cultural and ethnic identity. In this book Wilmer
selects key historical moments in American history and examines how the theatre, in
formal and informal settings, responded to these events. The book moves from the
Colonial fight for independence, through Native American struggles, the Socialist
Worker play, the Civil Rights Movement, and up to works of the last decade,
including Tony Kushner’s Angels in America. In addition to examining theatrical
events and play texts, Wilmer also considers audience reception and critical response.

s . e . w i l m e r is a Fellow of Trinity College, Dublin, and formerly Director of

the School of Drama. He has been a Visiting Professor at Stanford University and
University of California, Berkeley, and a member of the faculty of the International
Centre for Advanced Theatre Studies, in Finland. He is editor of Portraits of Courage:
Plays by Finnish Women (Helsinki University Press, 1997) and of Beckett in Dublin
(Lilliput, 1992), among other works. Wilmer is also a playwright, with his works
performed at the Manhattan Theatre Club and Lincoln Center.
CAMBRIDGE STUDIES IN AMERICAN THEATRE AND DRAMA

General editor
Don B. Wilmeth, Brown University

Advisory board
C. W. E. Bigsby, University of East Anglia
Errol Hill, Dartmouth College
C. Lee Jenner, Independent critic and dramaturge
Bruce A. McConachie, University of Pittsburgh
Brenda Murphy, University of Connecticut
Laurence Senelick, Tufts University

The American theatre and its literature are attracting, after long neglect, the crucial
attention of historians, theoreticians and critics of the arts. Long a field for isolated
research yet too frequently marginalized in the academy, the American theatre has
always been a sensitive gauge of social pressures and public issues. Investigations into its
myriad of shapes and manifestations are relevant to students of drama, theatre, literature,
cultural experience and political development.
The primary intent of this series is to set up a forum of important and original
scholarship in and criticism of American theatre and drama in a cultural and social
context. Inclusive by design, the series accommodates leading work in areas ranging from
the study of drama as literature to theatre histories, theoretical explorations, production
histories and readings of more popular or para-theatrical forms. While maintaining a
specific emphasis on theatre in the United States, the series welcomes work grounded
broadly in cultural studies and narratives with interdisciplinary reach. Cambridge Studies
in American Theatre and Drama thus provides a crossroads where historical, theoretical,
literary and biographical approaches meet and combine, promoting imaginative research
in theatre and drama from a variety of new perspectives.

books in the series

1. Samuel Hay, African American Theatre
2. Marc Robinson, The Other American Drama
3. Amy Green, The Revisionist Stage: American Directors Re-Invent the Classics
4. Jared Brown, The Theatre in American during the Revolution
5. Susan Harris Smith, American Drama: The Bastard Art
6. Mark Fearnow, The American Stage and the Great Depression
7. Rosemarie K. Bank, Theatre Culture in America, 1825–1860
8. Dale Cockrell, Demons of Disorder: Early Blackface Minstrels and Their World
9. Stephen J. Bottoms, The Theatre of Sam Shepard
10. Michael A. Morrison, John Barrymore, Shakespearean Actor
11. Brenda Murphy, Congressional Theatre: Dramatizing McCarthyism on Stage, Film,
and Television
12. Jorge Huerta, Chicano Drama: Performance, Society and Myth
13. Roger A. Hall, Performing the American Frontier, 1870–1906
14. Brooks McNamara, The New York Concert Saloon: The Devil’s Own Nights
15. S. E. Wilmer, Theatre, Society and the Nation: Staging American Identities
Theatre, Society and the Nation
Staging American Identities

S . E . W ILM E R
Trinity College, Dublin
         
The Pitt Building, Trumpington Street, Cambridge, United Kingdom

  

The Edinburgh Building, Cambridge CB2 2RU, UK
40 West 20th Street, New York, NY 10011-4211, USA
477 Williamstown Road, Port Melbourne, VIC 3207, Australia
Ruiz de Alarcón 13, 28014 Madrid, Spain
Dock House, The Waterfront, Cape Town 8001, South Africa

http://www.cambridge.org

© S. E. Wilmer 2004

First published in printed format 2002

ISBN 0-511-04152-7 eBook (netLibrary)

ISBN 0-521-80264-4 hardback
 Contents

Acknowledgements page vii

Introduction 1

 From British colony to independent nation: refashioning

identity 16

 Federalist and Democratic Republican theatre: partisan

drama in nationalist trappings 53

 Independence for whom? American Indians and the

Ghost Dance 80

 The role of workers in the nation: the Paterson Strike

Pageant 98

 Staging social rebellion in the 1960s 127

 Reconfiguring patriarchy: suffragette and feminist plays 151

 Imaging and deconstructing the multicultural nation

in the 1990s 173

Notes 203
Select bibliography 250
Index 267

v
 Acknowledgements

I want to thank my colleagues in the School of Drama at Trinity College,

Dublin for allowing me generous study leave to research this book and the
Academic Development Fund and the Arts and Social Sciences Benefaction
Fund at the Trinity College, Dublin for financial help. I also want to thank
my students at Trinity College, Dublin, Stanford University, and University
of California, Berkeley for the stimulating discussions concerning many of
the topics in this book, and especially the faculty (Pirkko Koski, Bruce
McConachie, Janelle Reinelt, Freddie Rokem and Bill Worthen) and stu-
dents at the International Center for Advanced Theatre Studies (ICATS)
at the University of Helsinki for commenting on several of the chapters
of this book in draft form. Parts of this book, in different versions, have
appeared in Acta Americana (vol. 7, no. 2, 1999, pp. 25–45), the Irish Journal
of American Studies (vol. 8, 1999, pp. 119–179), Nordic Theatre Studies (vol. 12,
1999, pp. 94–103), Theatre Survey (vol. 40, no. 2, 1999, pp. 1–26) and Theatre
Symposium (vol. 5, 1997, pp. 78–94). I am very grateful to the Department of
Drama at Stanford University, especially Michael Ramsaur and Ron Davies,
for accommodating me during my research visits to the United States, and
I am particularly indebted to the series editor Don Wilmeth and to Vicki
Cooper at Cambridge University Press for their guidance and encourage-
ment, to the copy editor Maureen Leach for her careful work, and to Mary
Ellen O’Hara at TCD for her help with the index. Lastly and most im-
portantly I want to thank my family – Marja, Tania and Alex – for their
support in spite of long and painful absences.

vii
 Introduction

Ivarious
n the historical development of the nation-state,
forms of cultural expression have been instrumental in helping to
construct notions of national identity. Recent works on cultural nationalism
(such as Edward Said’s Culture and Imperialism, Homi Bhabha’s Nation and
Narration and Benedict Anderson’s Imagined Communities) have analyzed
this process, but to a large extent they have undervalued the role of theatre.
For example in Imagined Communities, Benedict Anderson highlights the
influence of print journalism and literature in establishing the concept of
the nation, but hardly mentions the stage. This book attempts to widen
the discussion on cultural nationalism by demonstrating the importance of
drama and theatrical performance in having contributed to and in contin-
uing to influence the process of representing and challenging notions of
national identity.
Theatre has often acted as a site for staging national history, folklore and
myths and for formulating national ideology in many parts of the world.
With its rhetorical and semiotic features, theatre has offered a particularly
effective means of conveying notions of what is national and what is alien.
Furthermore, because plays purporting to express national values can be
performed in the actual presence of the community (in a public theatre),
they can serve not only to make claims for a national identity, but they
can also gain immediate communal support or rejection for that assertion.1
Unlike the solitary reader of a novel or a newspaper who reacts in isolation,
the theatregoer is part of a community of spectators who can express their
approval or disapproval to the performers and to each other. As Stephen
Greenblatt has shown, theatre “is a collective creation,” both as “the prod-
uct of collective intentions” and also because it “addresses its audience as
a collectivity.”2 But theatre is, moreover, a place for interaction between
performers and audience. In a manner consonant with Renan’s notion of


 THEATRE, SOCIETY AND THE NATION

the nation as a “daily plebiscite,”3 the theatre can act as a public forum in
which the audience scrutinizes and evaluates political rhetoric and assesses
the validity of representations of national identity. The theatre can serve as
a microcosm of the national community, passing judgement on images of
itself.
In the late eighteenth century, Goethe and Schiller wrote of the poten-
tial of theatre to galvanize the nation. After the French Revolution, Schiller
went so far as to argue that the theatre could help not only to establish
national values but also to create a new German nation. “If a single charac-
teristic predominated in all of our plays; if all of our poets were in accord and
were to form a firm alliance to work for this end; if their work were governed
by strict selection; if they were to devote their paintbrushes to national sub-
jects; in a word, if we were to see the establishment of a national theatre:
then we would become a nation.”4
In Europe in the nineteenth and early twentieth centuries, plays and the-
atre performances became important sites for expressing notions of national
identity both in established nation-states and in emerging nations. German
Romanticism (including the work of Klopstock, Goethe, Schiller, Kleist
and Wagner) encouraged the rise of nationalist drama and opera in vari-
ous European countries, such as the work of Oehlenschläger in Denmark,
Victor Hugo in France, Katona and Kisfaludy in Hungary, Pushkin in
Russia, Alfieri, Manzoni, Niccolini and Verdi in Italy, Ibsen5 and Bjørnson
in Norway and Yeats in Ireland.6 Writing of the theatres in Northern and
Eastern Europe, Laurence Senelick has emphasized the counter-cultural
nature of much of this type of work. “Most national theatres arose in reaction
to a dominant culture imposed from without; they were a means of protest
as well as of preserving what were considered to be salient features of the op-
pressed group. Theatre was a catalytic factor in the formation of its identity.”7
Moreover, Marvin Carlson has suggested that this kind of nationalist the-
atre affected most of Europe. “Few of the emerging national/cultural groups
of the post-Romantic period neglected to utilize the drama as a powerful
tool for awakening a people to a common heritage and, not infrequently, en-
couraging them through an awareness of this heritage to seek both national
identity and national liberty in opposition to the demands of dominant and
external political and cultural influences.”8
In Imagined Communities, Benedict Anderson emphasizes this notion of
“awakening from sleep”9 as a common trope for nascent nationalism, i.e. that
the people of the nation are awakened to the call of their “natural” national
allegiances. In the nationalist drama and the work of many national theatres
INTRODUCTION 

from the late eighteenth to the twentieth century, one can see the attempt
to awaken the nation to its natural sense of nationhood. But how natural are
these notions of nationhood? To what extent is the nation’s history fabri-
cated? How common is the heritage? In how many ways might it be config-
ured? Which voices are suppressed in order to create a national (and possibly
univocal or homogenous) discourse? One could argue that notions of na-
tional identity are continuously being contested by different vying groups
within the nation, seeking to assert or impose their own cultural values at
various points in time. Andrew Higson has suggested that, “The search for
a stable and coherent national identity can only be successful at the expense
of repressing internal differences, tensions and contradictions – differences
of class, race, gender, region, etc.” Higson also notes the importance of
“historical shifts in the construction of nationhood and national identity;
nationhood is always an image constructed under particular conditions.”10
Thus, one could propose that notions of national identity are constantly
being reformulated, revised and reasserted in an ongoing battle to assert
and maintain a hegemonic notion of the nation. Likewise, subaltern groups
have confronted the homogenous image represented by the dominant group
in asserting a more pluralistic or counter-hegemonic identity.
This book demonstrates that theatre in the United States has often been
used to define or challenge national values and the notion of the nation.
The North American tradition of this type of drama predates German
Romanticism. It was already manifest in the earliest drama of the English
colonies, and it continues until today. Particularly at times of national cri-
sis, the theatre has served as a political and ideological tool to help re-
configure the nation. The purpose of this book is to investigate important
examples of this process from the eighteenth to the twentieth century in or-
der to illustrate the role of the theatre and live performance in reformulating
concepts of national identity.
Rather than focusing on hegemonic nationalism, however, Theatre,
Society and the Nation concentrates as much on counter-hegemonic and
subaltern discourses. For example, it analyzes plays and performances that
formulated a positive identity for marginalized or oppressed groups in
society and that posited an identity for the nation that privileged rather
than minimized the position of such groups. Divided into chapters relating
to specific political and social movements, the book discusses representative
plays and performances that emerged out of those movements. In addi-
tion to examining theatrical events and the printed text of plays and the
messages implicit or explicit therein, it considers the audience and critical
 THEATRE, SOCIETY AND THE NATION

response (both of the dominant and oppressed groups in society). In gen-

eral the strategy of Theatre, Society and the Nation is, rather than seeking to
cover every drama or theatrical performance within each social or political
movement, to analyze a few of the more illustrative plays and performances
in depth.
The image of the United States has been evolving since the republic
was founded in the eighteenth century. As in other countries, the concept
of the nation has responded to social change and times of stress. Theatre
and other media have contributed to the changing discourse about national
values and national identity. As J. Ellen Gainor has written, “Our culture
is always constructing and representing itself to itself.”11 Before the devel-
opment of film, radio and television, theatre and live performance played
an important role in staging the national character in front of a live public
audience which could immediately indicate their acceptance or rejection of
such images, for example by applause or booing or other forms of interven-
tion. In the first century of the republic, the discourse that was circulating
in other media (such as newspapers, novels, magazines and public speeches)
could be converted for stage presentation. Equally, plays and performances
could introduce new ideas and images that could take hold of the popular
imagination, and be reinforced through their dissemination in other me-
dia. Unlike public speeches and literature, the theatre often works through
live visual images that carry sub-textual or symbolic messages, and so the
rhetoric is not only conveyed in the verbal dialogue and written text. More
recently, the theatre and live performance have competed with radio, tele-
vision, film and other media in this enterprise. This book does not try to
cover the wide range of media but concentrates on the changing ideologies
evident in drama and live performance that have presented various notions
of national identity over the course of three centuries.
In the sixteenth and seventeenth century Spanish, British, French and
Dutch colonies were established on land belonging to American Indian
tribes on the East Coast of North America that would later become part
of the United States. By the middle of the eighteenth century, the British
colonies dominated the territory that would encompass the initial expanse
of the United States of America. Furthermore, although there were immi-
grants from different countries and of different religious faiths, the English-
speaking white Protestant had gained a dominant position by this time.
In 1740, an Act of Parliament enabled settlers in the American colonies
to become British citizens after seven years of residency and after taking a
Protestant oath. Jews and Quakers were exempt from the oath, but Catholics
INTRODUCTION 

were excluded. Non-English-speaking immigrants such as Germans were

expected to learn English and their children to attend English-speaking
schools.12 Enslaved Africans were imported as laborers and American
Indians were pushed westward. Gradually the other competing European
colonial forces were displaced by the British in much of North America.
The Dutch colony of New Amsterdam was taken over by the British and
renamed New York in 1664, and the Spanish Floridas and French Canada
were acquired under the Peace of Paris in 1763. (Other colonies would be
acquired by the United States after it became independent such as the
Louisiana Purchase from the French in 1803, the Spanish colony of Florida
which had reverted to Spain after the War of Independence in 1819, and
much of the Spanish territory in the west including Texas and California
in the Treaty of Guadalupe Hidalgo in 1848.) Thus, an English-speaking
Protestant identity gained ascendancy in the territory that would form the
first thirteen states of the new republic.
A Native American performance tradition existed in North America long
before European settlement. With the advent of Spanish, British, French
and Dutch colonies, European styles of drama began to appear in North
America including religious performances in the Spanish colonies as early
as the 1520s.13 Because of the emphasis on national identity in the United
States, this book begins with the period shortly before independence when
the North American English colonies were manifesting their loyalty to the
British Crown.
The first chapter examines the period prior to independence from Britain,
and the plays that either promoted a Loyalist or a Patriot stance. Until the
Stamp Act of 1765, the few dramas written in the British colonies of North
America supported British colonial policies and promoted the image of
settlers as being loyal to the Crown. With the rebellion over the Stamp
Act, colonial drama engaged in the debate about the identity of the settlers.
Some dramas demonstrated continuing loyalty to the Crown while others
expressed a new sense of national identity. These early plays, which were
mainly written to be read rather than performed, presumably appealed to a
literate elite rather than a mass audience.
With independence, a new national identity was legally defined along
racial, gender and class lines. The rights of citizenship were generally re-
stricted to white property-owning males.14 In drafting the Constitution and
the Bill of Rights, the founders of the new nation-state ignored the nat-
ural birthright of African Americans and American Indians, and in the
1790 Act of Congress made it clear that only white immigrants (“free white
 THEATRE, SOCIETY AND THE NATION

person[s], who shall have resided within . . . the United States for the term
of two years”) could gain citizenship.15
The Federalists argued for a strong central government as opposed to a
loose confederation of states, and following the election of Washington as
the first President, they favored their kinship and neocolonial-mercantile
ties with Britain in formulating national values and a foreign policy. Anti-
Federalists argued for states’ rights and accused the Federalists of trying
to ape British aristocratic values. Partly to suppress dissent, the Federalists
introduced more stringent legislation in the Alien and Sedition Acts of
1798 that limited immigrant rights and freedom of speech, defined who was
an alien and indicated on what basis immigrants could be deported. This
legislation further determined who was to be included in the nation-state
and who was to be excluded (e.g. those with pro-French and anti-Federalist
sympathies.)
The second chapter looks at the period in the 1790s, when the theatre
became increasingly a site of confrontation between the two rival political
factions. These groups staged performances that reflected partisan values
(such as attitudes about class and social status and about loyalties to par-
ticular foreign governments), while endeavoring to posit these values as
national and in the national interest. Federalists defended class distinctions
and promoted strong links with Britain, while Democratic Republicans sup-
ported close ties with France and advocated the more egalitarian values of
the French Revolution as reflecting the goals of the founding fathers of the
American republic. Progressing from an elite to a middle-class art form, the
theatre broadened its appeal by presenting more American material. Such
performances as John Burk’s anti-Federalist Bunker-Hill attracted artisans
as well as upper-class members of society.
In the nineteenth century Americans increasingly questioned the cultural
hegemony of Britain and encouraged American artistic efforts and images.
The playwright James Nelson Barker urged his countrymen to support na-
tionalistic plays and warned that otherwise they “must be content to continue
the importation of our ideas and sentiments, like our woollen stuffs, from
England.”16 Certain overlapping stereotypes of American character began
to emerge in the theatre such as the American Veteran, the Yankee and the
backwoodsman or frontiersman. These were white Anglo-Saxon Protestant
male characters who, although sometimes comic, provided a positive image
of an independent American spirit. The Yankee character in such plays as
Royall Tyler’s The Contrast (1787), James Nelson Barker’s Tears and Smiles
(1808) and A. B. Lindsley’s Love and Friendship (1810) spoke with a peculiar
INTRODUCTION 

American dialect and exhibited a homespun wisdom unsullied by old world

(e.g. British) decadence.17 In some examples, such as Dan Marble in The
Vermont Wool Dealer (1838) or The Stage Struck Yankee (1845), the Yankee
character adopted the dress of the figure of Uncle Sam.18 Of this character,
Bruce McConachie has written, “Like several earlier stage symbols of the
nation, Yankee stars played a large role in the social construction of white-
ness . . . Although accommodating the values of republican simplicity and
sentimental virtue, the stage Yankees actually advanced the cultural system
of rationality and the whiteness it assumed.”19 Likewise, the rugged fron-
tiersman conquering the American continent, taming the environment and
fighting against American Indians in the name of civilization exuded the
values of the individualist pioneer. Such plays as James Kirke Paulding’s
Lion of the West (1830) which was adapted by William Bayle Bernard as The
Kentuckian (1833), Louisa Medina’s Nick of the Woods (1838), W. R. Derr’s
Kit Carson, the Hero of the Prairie (1850) and Frank Murdock’s Davy Crockett
(1872) helped entrench this mythical hero into the public consciousness.
They also promoted the concept of what Sacvan Berkovitch has called the
“American jeremiad,” the spiritual mission of Americans to conquer the
wilderness.20 The association of the frontiersman with a religious quest, or
alternatively as an “American Adam” seeking his fortune in an American
garden of Eden,21 also reflected an ongoing ethnic, religious and gender
prejudice in the country that would encourage the notion that the country
belonged to a specific type of person and that its fruits were for their benefit
and should be denied to others. As Donald Pease has written, “Alongside
the nexus of belongingness established for the national community, the
national narrative represented other peoples (women, blacks, ‘foreigners,’ the
homeless [and Native Americans]) from whom the property of nationness
had been removed altogether and upon whose differences from them the
national people depended for the construction of the universality of their
norms.”22
President Andrew Jackson, who acquired the image of the individualist
frontiersman and democratic yeoman, encouraged cultural nationalism in
the theatre: “It is time that the principal events in the history of our country
were dramatized, and exhibited at the theatres on such days as are set apart as
national festivals.”23 Dramatists complied by writing melodramas featuring
various types of Jacksonian figures in particular for the actor Edwin Forrest,
who was closely associated with Jacksonian values, viz., Robert T. Conrad’s
Jack Cade (1835), Augustus Stone’s Metamora; Or, the Last of the Wampanoags
(1829) and Robert Montgomery Bird’s The Gladiator (1831).24 The struggle
 THEATRE, SOCIETY AND THE NATION

for cultural autonomy from Britain was perhaps most clearly displayed in the
Astor Place riots of 1849 (in which twenty-two people died) when supporters
of the American actor Edwin Forrest clashed with supporters of the visiting
English actor William Charles Macready.
With the increase of Irish immigration in the 1830s and 1840s, anti-
Catholic prejudice grew and the stage Irishmen and stage Irish immigrant
figures emerged as popular comic stereotypes.25 As slavery became more of a
contentious issue, abolitionist groups used the theatre to promote the cause
of freedom. Harriet Beecher Stowe’s 1852 novel of Uncle Tom’s Cabin was
adapted by many theatre groups and performed throughout the northern
states. George L. Aiken’s adaptation received an unusually long run in New
York and the New York Spirit of the Times commented that “the performance
of this drama has made converts to the abolition doctrine many persons, we
have no doubt, who have never examined the subject, and know nothing of
its merits.”26 Other plays addressed the slavery issue, notably The Octoroon
(1859) by the Irish immigrant Dion Boucicault, and The Escape; Or, A Leap
for Freedom (1857) that William Wells Brown, as a former slave, wrote from
personal experience and read in public to promote the abolitionist cause. In
the south, the fear of northerners dramatizing Uncle Tom’s Cabin was ex-
pressed by the editor of the New Orleans Daily Picayune: “The gross misrep-
resentations of the south which have been propagated extensively through
the press, with the laudations of editors, politicians, and pious fanatics of
the pulpit, are to be presented in tableaux, and the lies they contain acted by
living libellers before crowds of deluded spectators.”27 Southerners counter-
attacked with alternative versions of Uncle Tom’s Cabin that conveyed the
superiority of southern life, such as Joseph M. Field’s Uncle Tom’s Cabin:
or Life in the South As It Is, Dr. William T. Leonard’s Uncle Tom’s Cabin
in Louisiana and George Jamieson’s The Old Plantation; or, Uncle Tom As
He Is.28
While opposing the institution of slavery before the Civil War, Uncle
Tom’s Cabin continued to be popular as entertainment after the abolition of
slavery. As Jim Crow laws followed the newly won freedom of African
Americans during the reconstruction era, “Tom Shows” by white actors in
black face depicted demeaning stereotypes like the self-effacing Uncle Tom
and the uncivilized Topsy. Likewise, other plays and minstrel shows (which
had started as early as the 1820s by African Americans or white artists in
black face and which toured the country during much of the nineteenth
century) created demeaning stereotypes for African Americans, e.g. comic,
dancing figures, tragic mulattos, brutes or Mammy caricatures.
INTRODUCTION 

Other ethnic characters such as Irish Americans and Native Americans

were particularly popular in the melodramas and comedies of the time, but
the values and culture of Anglo-Saxon Americans remained dominant with
members of other ethnic groups often being shown on the stage in comic
roles. This became increasingly apparent following the gold rush, industri-
alization, the building of the railroads, the growth of the cities and the enor-
mous increase in immigration especially from Europe and Asia. The threat
to white Protestant hegemony because of immigration entered the subtext
of numerous new plays, such as McCloskey’s melodrama about the rail-
roads, Across the Continent. On the other hand, immigrants brought their
own culture and performance traditions with them, and numerous immi-
grant ethnic groups performed theatre to their own communities usually in
their native languages.
Native Americans tried to preserve their cultures and their ways of life in
the nineteenth century despite white settlers depriving them of their land,
their language and their religions and confining them on reservations. In
some cases they were pushed to the extreme and reacted aggressively, but the
white settlers, reinforced by the government and the military, continued to
insist on their right to take over the country. In early American drama such
as Metamora, Native Americans were often portrayed as noble savages who
were tragically disappearing from the landscape.29 However, by the middle
of the nineteenth century, this image changed as settlers on the frontier
wanted Native Americans to disappear more rapidly. For example, when
Forrest presented Metamora in Augusta, Georgia in 1831 while the Georgians
were in the process of evicting the Cherokees, the audience reacted angrily
to the sympathetic treatment of Indians.30 Having been represented in the
eighteenth and early nineteenth century as proto-Americans and even, in
cultural nationalist parlance, as the American “volk,”31 Indians had become
“un-American” or “anti-American” by the mid nineteenth century. Rep-
resentations of Native Americans as tragic noble savages gave way by the
1850s to ridiculous comic portrayals on the stage as in the burlesques by
John Brougham, such as Metamora; Or, The Last of the Pollywogs (1847), or
to uncivilized and warlike predatory figures as in W. R. Derr’s Kit Carson,
The Hero of the Prairie (1850) or Augustin Daly’s Horizon (1871). Such depic-
tions provided the settlers with the moral justification to abrogate treaties
and deprive the Indians of their lands.
The third chapter explores the response of the Native Americans and
more specifically the Lakota to their loss of sovereignty in the western plains.
Although Native Americans sometimes performed in Wild West shows and
 THEATRE, SOCIETY AND THE NATION

were often represented (and sometimes appeared) in playhouses, this chapter

does not examine representations of Native Americans in the mainstream
theatre or Native American performances for a paying public. It discusses
a religious ritual that spread across the country and was interpreted by the
Lakota in a particular fashion. The chapter demonstrates that the Lakota
rendition of the Ghost Dance was a performative cultural and religious
response to their loss of sovereignty and functioned as a demand for an
independent Native lifestyle. The Ghost Dance, which spread across the
United States, reflected a widespread belief that the millennium was near.
The Native Americans were faced with the obliteration of their culture
and the extermination of their people, but the Ghost Dance represented
a dream that the whole process of white incursion could be reversed. The
whites would disappear, the buffalo would return and the Indians would
reunite with their ancestors. As such, the Lakota Ghost Dance redefined
the notion of the nation that was being promulgated by the white settlers
and the government in Washington. The Ghost Dance operated as a form
of political theatre, similar in function to the pamphlet plays for the white
population in the previous century.
In spite of the increasing diversity of the United States in the nine-
teenth century with immigrants from many parts of the world in addition
to the early white settlers and the indigenous and African American peoples,
the dominant notion of the nation remained monocultural and united. This
was particularly emphasized following the Civil War as a rhetorical means
to express a common and undivided national identity. Unlike the nations
of Europe that could claim the organic development of a national spirit
through a common history, folklore, literature, ethnicity, language, etc.,
America’s common identity needed to be more artificially constructed be-
cause of its diversity of ethnicities, religions, languages and customs. Despite
severe social prejudice, a hierarchical social structure and legalized forms of
social discrimination, some of the factors that were represented as uniting
the country were the English language, the Anglo-Saxon Protestant culture,
and the common dream of prosperity founded on notions of liberty, equality
and free enterprise. According to Frederick Jackson Turner, “To the frontier
the American intellect owes its striking characteristics. That coarseness and
strength . . . that masterful grasp of material things, lacking in the artistic but
powerful to effect great ends . . . that dominant individualism, working for
good and for evil.”32 Likewise, David Huntington wrote, “It is a wondrous
impulse to the individual, to his hope, his exertions and his final success,
[thus] to be taught that there is nothing in his way; – that he stands fair
Exploring the Variety of Random
Documents with Different Content
 Veterinary - Instructor Guide
First 2024 - Center

Prepared by: Lecturer Davis

Date: August 12, 2025

Chapter 1: Critical analysis and evaluation

Learning Objective 1: Key terms and definitions
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Learning Objective 2: Research findings and conclusions
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Learning Objective 3: Research findings and conclusions
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Learning Objective 4: Research findings and conclusions
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Learning Objective 5: Ethical considerations and implications
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
[Figure 5: Diagram/Chart/Graph]
Key Concept: Learning outcomes and objectives
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Remember: Comparative analysis and synthesis
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Important: Critical analysis and evaluation
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Current trends and future directions
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
[Figure 9: Diagram/Chart/Graph]
Important: Ethical considerations and implications
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Summary 2: Current trends and future directions
Definition: Interdisciplinary approaches
• Key terms and definitions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Historical development and evolution
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Literature review and discussion
• Research findings and conclusions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 13: Study tips and learning strategies
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Experimental procedures and results
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Important: Comparative analysis and synthesis
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Problem-solving strategies and techniques
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Key Concept: Best practices and recommendations
• Critical analysis and evaluation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Fundamental concepts and principles
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 19: Diagram/Chart/Graph]
Note: Case studies and real-world applications
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Unit 3: Literature review and discussion
Key Concept: Ethical considerations and implications
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 21: Experimental procedures and results
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Example 22: Best practices and recommendations
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 23: Current trends and future directions
• Study tips and learning strategies
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 24: Current trends and future directions
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
[Figure 25: Diagram/Chart/Graph]
Note: Fundamental concepts and principles
• Interdisciplinary approaches
- Sub-point: Additional details and explanations
- Example: Practical application scenario
[Figure 26: Diagram/Chart/Graph]
Important: Theoretical framework and methodology
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Example 27: Research findings and conclusions
• Critical analysis and evaluation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 28: Best practices and recommendations
• Critical analysis and evaluation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Important: Critical analysis and evaluation
• Key terms and definitions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Introduction 4: Key terms and definitions
Note: Best practices and recommendations
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 31: Diagram/Chart/Graph]
Remember: Interdisciplinary approaches
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Practice Problem 32: Assessment criteria and rubrics
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Key Concept: Best practices and recommendations
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 34: Experimental procedures and results
• Study tips and learning strategies
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Remember: Best practices and recommendations
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Remember: Fundamental concepts and principles
• Best practices and recommendations
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Problem-solving strategies and techniques
• Key terms and definitions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Research findings and conclusions
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Study tips and learning strategies
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Module 5: Interdisciplinary approaches
Example 40: Historical development and evolution
• Problem-solving strategies and techniques
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Case studies and real-world applications
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Practice Problem 42: Key terms and definitions
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
[Figure 43: Diagram/Chart/Graph]
Important: Assessment criteria and rubrics
• Critical analysis and evaluation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Historical development and evolution
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Example 45: Experimental procedures and results
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Important: Statistical analysis and interpretation
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 47: Case studies and real-world applications
• Study tips and learning strategies
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 48: Diagram/Chart/Graph]
Key Concept: Literature review and discussion
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Important: Study tips and learning strategies
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Chapter 6: Interdisciplinary approaches
Important: Interdisciplinary approaches
• Interdisciplinary approaches
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Research findings and conclusions
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Important: Interdisciplinary approaches
• Problem-solving strategies and techniques
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Key Concept: Statistical analysis and interpretation
• Study tips and learning strategies
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Important: Research findings and conclusions
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 55: Practical applications and examples
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Example 56: Historical development and evolution
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
[Figure 57: Diagram/Chart/Graph]
Practice Problem 57: Statistical analysis and interpretation
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Example 58: Literature review and discussion
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Practical applications and examples
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
References 7: Case studies and real-world applications
Remember: Research findings and conclusions
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Example 61: Problem-solving strategies and techniques
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
[Figure 62: Diagram/Chart/Graph]
Definition: Study tips and learning strategies
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
[Figure 63: Diagram/Chart/Graph]
Example 63: Ethical considerations and implications
• Study tips and learning strategies
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Literature review and discussion
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 65: Comparative analysis and synthesis
• Problem-solving strategies and techniques
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Example 66: Key terms and definitions
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Note: Comparative analysis and synthesis
• Best practices and recommendations
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Statistical analysis and interpretation
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Research findings and conclusions
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Topic 8: Literature review and discussion
Definition: Study tips and learning strategies
• Study tips and learning strategies
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Important: Key terms and definitions
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Best practices and recommendations
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Practice Problem 73: Experimental procedures and results
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Problem-solving strategies and techniques
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Practice Problem 75: Study tips and learning strategies
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Definition: Current trends and future directions
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 77: Diagram/Chart/Graph]
Key Concept: Learning outcomes and objectives
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 78: Critical analysis and evaluation
• Study tips and learning strategies
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Important: Case studies and real-world applications
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Part 9: Fundamental concepts and principles
Example 80: Learning outcomes and objectives
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Study tips and learning strategies
• Key terms and definitions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Current trends and future directions
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Practice Problem 83: Critical analysis and evaluation
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Remember: Learning outcomes and objectives
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 85: Diagram/Chart/Graph]
Remember: Critical analysis and evaluation
• Research findings and conclusions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Note: Assessment criteria and rubrics
• Best practices and recommendations
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 87: Diagram/Chart/Graph]
Practice Problem 87: Key terms and definitions
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Key terms and definitions
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Practice Problem 89: Research findings and conclusions
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 90: Diagram/Chart/Graph]
Section 10: Key terms and definitions
Practice Problem 90: Statistical analysis and interpretation
• Critical analysis and evaluation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Best practices and recommendations
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Important: Fundamental concepts and principles
• Critical analysis and evaluation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Practice Problem 93: Learning outcomes and objectives
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Important: Problem-solving strategies and techniques
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Case studies and real-world applications
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Practice Problem 96: Case studies and real-world applications
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Assessment criteria and rubrics
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Definition: Historical development and evolution
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 99: Diagram/Chart/Graph]
Remember: Literature review and discussion
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
[Figure 100: Diagram/Chart/Graph]
Background 11: Study tips and learning strategies
Definition: Statistical analysis and interpretation
• Critical analysis and evaluation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
[Figure 101: Diagram/Chart/Graph]
Practice Problem 101: Ethical considerations and implications
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Important: Comparative analysis and synthesis
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Note: Historical development and evolution
• Research findings and conclusions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Key Concept: Key terms and definitions
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Remember: Fundamental concepts and principles
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 106: Diagram/Chart/Graph]
Definition: Practical applications and examples
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Example 107: Historical development and evolution
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
[Figure 108: Diagram/Chart/Graph]
Key Concept: Literature review and discussion
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
[Figure 109: Diagram/Chart/Graph]
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