Blacking Up, Passing Down: The Minstrel Legacy in George Gershwin's Porgy and Bess and Walt Disney's Mickey MouseUniversity of Wisconsin--Madison, 1999 - 166 pagina's |
Vanuit het boek
Resultaten 1-3 van 45
Pagina 10
... white people can pass too , both literally , as in the case of John Howard Griffin's exposé Black Like Me ( 1959 ) , and figuratively / sonically , as in the cases that I am presenting below . In what amounts essentially to a dramatic ...
... white people can pass too , both literally , as in the case of John Howard Griffin's exposé Black Like Me ( 1959 ) , and figuratively / sonically , as in the cases that I am presenting below . In what amounts essentially to a dramatic ...
Pagina 11
... white society , primarily because passing's very foundation is constructed on the premise of racial deceit ; in this ... black to white , I am necessarily reversing its direction in order to apply it to aspects of blackface minstrelsy ...
... white society , primarily because passing's very foundation is constructed on the premise of racial deceit ; in this ... black to white , I am necessarily reversing its direction in order to apply it to aspects of blackface minstrelsy ...
Pagina 80
... White Skin , Black Face in American Culture . New York : Oxford University Press , 1997 . Hamm , Charles . Yesterdays : Popular Song in America . New York : Norton , 1979 . Heide , Robert and John Gilman . Cartoon Collectibles 50 Years ...
... White Skin , Black Face in American Culture . New York : Oxford University Press , 1997 . Hamm , Charles . Yesterdays : Popular Song in America . New York : Norton , 1979 . Heide , Robert and John Gilman . Cartoon Collectibles 50 Years ...
Inhoudsopgave
Baptism Through Blackness | 23 |
Theres a Lot of the Mouse in Me Mickey Mouse | 49 |
Imitations of the Dance | 72 |
1 andere gedeelten niet getoond
Veelvoorkomende woorden en zinsdelen
African American ambiguous American culture American music American popular music analysis appear appropriate argue articulated aspects attempt audiences authentic became become blackface minstrelsy cartoon character characterizations Chicago classical considered context continues copy critical cultural Dan Emmett dance desire difference discourse discuss Disney distinctions early Ellison enabled essay exist experience face fact fascination figures framework George Gershwin Gershwin gestures global Harlem helped identity ideology imitation interest interpretation Ironically jazz Jazz Age Jewish Jews legacy means Mickey Mouse Mickey's minstrel show minstrel tradition musicological Negro never nineteenth nineteenth-century blackface notions opera parody passing perceived performers phenomenon play popular music Porgy and Bess present primitive production race racial Renaissance representation represents Roediger seems sense significant slave social society song sound South speaks stage stereotypes story suggests transformation turn twentieth century University Press Western writes York