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 |
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Pagina 9
... sense , typically designates someone who is of African descent and who , because of his or her appearance , chooses to pass ( up in caste status , that is ) into white society . By using his or her skin color to cross racial lines or ...
... sense , typically designates someone who is of African descent and who , because of his or her appearance , chooses to pass ( up in caste status , that is ) into white society . By using his or her skin color to cross racial lines or ...
Pagina 33
... sense of indeterminacy and thus , the freedom and fluidity to pass musically and racially : In Gershwin's music we can hear his literal traversal between the popular and the classical ; figuratively we can ascertain that Gershwin passed ...
... sense of indeterminacy and thus , the freedom and fluidity to pass musically and racially : In Gershwin's music we can hear his literal traversal between the popular and the classical ; figuratively we can ascertain that Gershwin passed ...
Pagina 66
... sense . In masking , white men are temporarily raced , that is , they exist outside the mythic norm that white skin and male status carry . Ellison considers the fact that in masking , white males " lose that freedom which in the fluid ...
... sense . In masking , white men are temporarily raced , that is , they exist outside the mythic norm that white skin and male status carry . Ellison considers the fact that in masking , white males " lose that freedom which in the fluid ...
Inhoudsopgave
Baptism Through Blackness | 23 |
Theres a Lot of the Mouse in Me Mickey Mouse | 49 |
Imitations of the Dance | 72 |
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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