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Inter-Ethnic Issues In Lorraine Hansberry's The Sign In Sidney Brustein's Window By Steven R. Carter, Steven R. Carter
Inter-Ethnic Issues In Lorraine Hansberry's The Sign In Sidney Brustein's Window By Steven R. Carter, Steven R. Carter
Explorations in Ethnic Studies
When Lorraine Hansberry's second produced play, The Sign in Sidney Brustein's Window, opened on Broadway in 1964, some white critics expressed surprise that her protagonist was Jewish rather than black and some blacks were disappointed or even outraged by this, feeling that she was deserting the "cause" and trying too hard to win acclaim as a "universal" writer.[1] Others from both groups, of course, warmly defended her.
Critique [Of Inter-Ethnic Issues In Lorraine Hansberry's The Sign In Sidney Brustein's Window By Steven R. Carter], Helen Maclam
Critique [Of Inter-Ethnic Issues In Lorraine Hansberry's The Sign In Sidney Brustein's Window By Steven R. Carter], Helen Maclam
Explorations in Ethnic Studies
Carter's analysis of the varied ethnic backgrounds of the characters in this play demonstrates Hansberry's commitment to a multiethnic society. Ethnicity is also clearly a factor in the complexity of the individual characters themselves, and in their interaction. Carter further gives a credible rationale (documented by quotations from Robert Nemiroff’s correspondence) for Hansberry's choice of Sidney, a Jew, as the vehicle for her message.