This thesis anachronistically applies Kimberlé Crenshaw’s term intersectionality to three dramatic texts using Thomas Postlewait’s model of theatre historiography. These plays were authored by twentieth century female playwrights who had similar intersectional lives as the leads discussed. Yuki, from the 1901 novel turned 1903 Broadway play A Japanese Nightingale, was crafted by Winnifred Eaton. Yuki’s identity will be the subject of the first chapter. The second chapter examines the identity of Rachel from Angelina Weld Grimke’s anti-lynching play Rachel. For the third chapter, the identities of both female leads fromHope for a Harvest by Sophie Treadwell are analyzed. Each chapter will also investigate the strong autobiographical ties the playwrights have to their material in terms of intersectional identity and historical context.
","abstract_html":"<p>This thesis anachronistically applies Kimberlé Crenshaw’s term <em>intersectionality</em> to three dramatic texts using Thomas Postlewait’s model of theatre historiography. These plays were authored by twentieth century female playwrights who had similar intersectional lives as the leads discussed. Yuki, from the 1901 novel turned 1903 Broadway play <em>A Japanese Nightingale</em>, was crafted by Winnifred Eaton. Yuki’s identity will be the subject of the first chapter. The second chapter examines the identity of Rachel from Angelina Weld Grimke’s anti-lynching play Rachel. For the third chapter, the identities of both female leads from<em>Hope for a Harvest</em> by Sophie Treadwell are analyzed. Each chapter will also investigate the strong autobiographical ties the playwrights have to their material in terms of intersectional identity and historical context.</p>","abstract_has_math":false,"creators":["Goodell, Emily"],"institution":null,"degree_name":"Master of Arts (MA)","degree_level":"Thesis","degree_discipline":"Theatre","degree_department":null,"school":null,"contributors":["David Bisaha"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2017,"date_issued":"2017-01-01T08:00:00Z","date_published":"2017-01-01T08:00:00Z","updated_at":"2026-07-24T01:10:09Z","subjects":["Communication and the arts","Intersectionality","Theatre historiography","Women's and gender studies","Theatre and Performance Studies","Theatre History"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://orb.binghamton.edu/dissertation_and_theses/27","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["David Bisaha"]},{"key":"dc:creator","label":"Author","values":["Goodell, Emily"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2018-01-09T08:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Theatre"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts (MA)"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Communication and the arts","Intersectionality","Theatre historiography","Women's and gender studies","Theatre and Performance Studies","Theatre History"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://orb.binghamton.edu/dissertation_and_theses/27"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This thesis anachronistically applies Kimberlé Crenshaw’s term intersectionality to three dramatic texts using Thomas Postlewait’s model of theatre historiography. These plays were authored by twentieth century female playwrights who had similar intersectional lives as the leads discussed. Yuki, from the 1901 novel turned 1903 Broadway play A Japanese Nightingale, was crafted by Winnifred Eaton. Yuki’s identity will be the subject of the first chapter. The second chapter examines the identity of Rachel from Angelina Weld Grimke’s anti-lynching play Rachel. For the third chapter, the identities of both female leads fromHope for a Harvest by Sophie Treadwell are analyzed. Each chapter will also investigate the strong autobiographical ties the playwrights have to their material in terms of intersectional identity and historical context.
"]},{"key":"dc:title","label":"Title","values":["Before Crenshaw: a historiographical look at intersectional identity in three twentieth-century American plays by Eaton, Grimké, and Treadwell"]}]}],"canonical_facts":{"dc:contributor":["David Bisaha"],"dc:creator":["Goodell, Emily"],"dc:date.available":["2018-01-09T08:00:00Z"],"dc:description.abstract":["This thesis anachronistically applies Kimberlé Crenshaw’s term intersectionality to three dramatic texts using Thomas Postlewait’s model of theatre historiography. These plays were authored by twentieth century female playwrights who had similar intersectional lives as the leads discussed. Yuki, from the 1901 novel turned 1903 Broadway play A Japanese Nightingale, was crafted by Winnifred Eaton. Yuki’s identity will be the subject of the first chapter. The second chapter examines the identity of Rachel from Angelina Weld Grimke’s anti-lynching play Rachel. For the third chapter, the identities of both female leads fromHope for a Harvest by Sophie Treadwell are analyzed. Each chapter will also investigate the strong autobiographical ties the playwrights have to their material in terms of intersectional identity and historical context.
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