From 1918's Tickless Time through Waiting for Lefty , Death of a Salesman , A Streetcar Named Desire , A Raisin in the Sun , and The Prisoner of Second Avenue to 2005's The Clean House , domestic labor has figured largely on American stages. No dramatic genre has done more than the one often dismissively dubbed "kitchen sink realism" to both support and contest the idea that the home is naturally women's sphere. But there is more to the genre than even its supporters suggest. In analyzing kitchen sink realisms, ...
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From 1918's Tickless Time through Waiting for Lefty , Death of a Salesman , A Streetcar Named Desire , A Raisin in the Sun , and The Prisoner of Second Avenue to 2005's The Clean House , domestic labor has figured largely on American stages. No dramatic genre has done more than the one often dismissively dubbed "kitchen sink realism" to both support and contest the idea that the home is naturally women's sphere. But there is more to the genre than even its supporters suggest. In analyzing kitchen sink realisms, Dorothy Chansky reveals the ways that food preparation, domestic labor, dining, serving, entertaining, and cleanup saturate the lives of dramatic characters and situations even when they do not take center stage. Offering resistant readings that rely on close attention to the particular cultural and semiotic environments in which plays and their audiences operated, she sheds compelling light on the changing debates about women's roles and the importance of their household labor across lines of class and race in the twentieth century.
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