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 7
Pagina 8
... gestures stand in for actual representations of blackness . These gestures then become accepted as a part of the subconscious , translated and transmuted to fit the needs of the present age . According to Lhamon , “ That's how the ...
... gestures stand in for actual representations of blackness . These gestures then become accepted as a part of the subconscious , translated and transmuted to fit the needs of the present age . According to Lhamon , “ That's how the ...
Pagina 19
... gesture of symbolic blackness was meant to creatively and economically capitalize on the perceived difference blackness evoked in 1930s American culture . More importantly , as far as Gershwin is concerned , it is in these symbolic gestures ...
... gesture of symbolic blackness was meant to creatively and economically capitalize on the perceived difference blackness evoked in 1930s American culture . More importantly , as far as Gershwin is concerned , it is in these symbolic gestures ...
Pagina 29
... gesture meant to capitalize on a perceived difference in American culture . Moreover , both realized their intrinsic ... gestures that Gershwin also refigured himself as an American , washing off his Jewishness and ergo his black ...
... gesture meant to capitalize on a perceived difference in American culture . Moreover , both realized their intrinsic ... gestures that Gershwin also refigured himself as an American , washing off his Jewishness and ergo his black ...
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