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Sample text

Historians have attended to the shift of decisive trade and power rivalries fr0111 the M editerranean world to the Atlantic, which occurred in the late seventeenth and early eighteenth centuries, especially in t he years leading up to and imm ediately following the Treaty of U trecht in 1713. 11 The rivalry between Britain and France, particu­ lady their struggle to dominate the slave economies in the West lndies and North America, shaped the cultural formations I am addressing here and the performances by which they are memorialized.

61; Kwame Anthony Appiah, In Mi' ratl-zer's HOHse:Africa il/ the Pl1il050pl1)' of Odlllre (New York and Oxford , 1992), p. 132. 3. Je. tram oStephen F. Rendall (Berkeley and Los Angeles, 198 4), pp. 91-110. 4. John W Kronik, "Editor's N ote," PAiLA 107 (1992), p. 425. 5. RY (philadelphia, 1985), pp. 35-1 ]6. 6. H enry LOllis Gates,Jr. , The Signijyil/g MOl1key: A Th cor)' of Aji-o-Al1lcrican Literary C ntíciSI1I (N ew Yo rk , 1988), pp. ngton, 1992), pp. 4-5 . 7. Fo r th e Illaterial in rhis paragraph.

As] a shaping force internal to the ... " While the pairmg traditional! "33 These examples from various performative practices supported by the folk argue that a central principIe of this aesthetic is the jux­ taposition in performance of radical differences, oftentimes understood as binary oppositions, that generate deep emotional responses from those assembled, cha11enging thern to imagine sorne interpretive res­ 0lution. 34 Attention to this principIe offers a guide to reconfiguring the analysis of African-American drama; obviously, it also has impli­ cations for other genres of African-American literature closely related to the oral.

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