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 31
Pagina 5
... early twentieth century American music as signifying racialized characteristics . How does one envision " blackness " and " whiteness " presented sonically ? In part , blackface performers with their parodic displays of staged blackness ...
... early twentieth century American music as signifying racialized characteristics . How does one envision " blackness " and " whiteness " presented sonically ? In part , blackface performers with their parodic displays of staged blackness ...
Pagina 6
... early writings , particularly Robert Toll's seminal work in Blacking Up ( 1974 ) , attempt to move beyond simplified issues of stereotyping and actually peel back the layers of the minstrel mask for a glimpse of what it might conceal ...
... early writings , particularly Robert Toll's seminal work in Blacking Up ( 1974 ) , attempt to move beyond simplified issues of stereotyping and actually peel back the layers of the minstrel mask for a glimpse of what it might conceal ...
Pagina 53
... early minstrel show , however , point specifically to an emulation of the African American experience in the South . In this sense , blackface served both as a " self - marginalizing mimicry " and an act of cultural miscegenation . As ...
... early minstrel show , however , point specifically to an emulation of the African American experience in the South . In this sense , blackface served both as a " self - marginalizing mimicry " and an act of cultural miscegenation . As ...
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