ABSTRACT Title of Dissertation: THE PHENOMENOLOGY OF ...

More documents

Recommendations

Info

Kaser, Arthur Leroy. Baker’s Minstrel Joke Book: Containing Thousands of Smiles and Chuckles and Roars. Boston: Walter H. Baker, 1956. Keenan, Hugh T. “Br’er Rabbit Redux.” In Sitting at the Feet of the Past: Retelling the North American Folktale for Children. New York: Greenwood, 1992. King, Florence Slover. Life on a String, with Billy Joe, Fleurette and Me. Philadelphia, Dorrance, 1976. Kisch, John and Edward Mapp. A Separate Cinema: Fifty Years of Black Cast Posters. New York: The Noonday Press, 1992. Kousser, J. Morgan, ed. Region, Race, and Reconstruction. New York: Oxford University Press, 1982. Lahmon Jr., W. T. Jump Jim Crow: Plays, Lyrics, and Street Prose of the First Atlantic Popular Culture. Cambridge, MA: Harvard University Press, 2002. _. Raising Cain: Blackface Performance from Jim Crow to Hip Hop. Cambridge: Harvard, 1998. Lanes, Selma G. Down the Rabbit Hole (New York: Atheneum, 1971 Lano, David. A Wandering Showman, I. East Lansing, MI: Michigan University Press, 1957. Latshaw, George. Puppetry: The Ultimate Disguise. New York: Richard Rosens Press, 1972. Levine, Lawrence W. Black Culture and Black Consciousness. New York: Oxford University Press, 1977. _. Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge, MA: Harvard University Press, 1990. _. The Unpredictable Past: Explorations in American Cultural History. New York: Oxford University Press, 1993. Levinthal, David. Blackface: The Blackface Stereotype and the Art of David Levinthal. Edited with a foreward by Manthia Diawara. Santa Fe: Arena Editions, 1999. Lott, Eric. Love and Theft: Blackface Minstrelsy and the American Working Class. New York: Oxford University Press, 1995. Macgowan, Kenneth. Footlights Across America: Towards a National Theater. New York: Harcourt, Brace, and Company, 1929. 249
Mahar, William J. Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture. Chicago: University of Illinois, 1999. _. "Black English in Early Blackface Minstrelsy: A New Interpretation of the Sources of the Minstrel Show." American Quarterly 37 (1985). Martin, Charles D. The White African American Body. New Brunswick, NJ: Rutgers University Press, 2002. Martin, Tony. Race First. Westport, CN: Greenwood Press, 1976. McArthur, Benjamin. Actors and American Culture, 1880-1920. Iowa City: University of Iowa, 2000. McConnachie, Bruce. Melodramatic Formations: American Theatre & Society, 1820- 1870. Iowa City: University of Iowa, 1992. _. “Historicizing the Production of Meaning in the Theatre.” New England Theatre Journal 4 (1993): 1-17. McIsaac, F. J. The Tony Sarg Marionette Book. New York: Viking Press, 1929. McPharlin, Paul. Aesthetic of the Puppet Revival. Detroit: Wayne University, 1938. _. Guide to Puppet Plays. Birmingham, MI: Paul McPharlin, 1932. _. Posters, Playbills, and Publicity for Puppet Shows, with Illustrative Examples. Washington: Smithsonian Libraries, 1972. _. Puppet Heads and Their Making: A Theorem with Woodcuts. Detroit: Paul McPharlin, 1931. _. Puppets in America 1739 to Today. Birmingham, MI: Pharlin, 1936. _. The Puppet Theatre in America: A History 1524-1948, With a Supplement Since 1948. Boston: Plays, Inc., 1969. _. Repertory of Marionette Plays. New York: Viking Press, 1929. _, ed. Puppet Plays. Detroit: Paul McPharlin, 1931. _, ed. Puppetry: A Yearbook of Puppets and Marionettes. Vol 1-9 (Detroit: Puppeteers of America, 1930-1939). Menschke, Michael, in collaboration with Margaretta Sorenson. In Search of Aesthetics for the Puppet Theatre. New Delhi: Sterling Publishers Private, 1992. 250
Page 1 and 2:
ABSTRACT Title of Dissertation: THE
Page 3 and 4:
THE PHENOMENOLOGY OF RACIALISM: BLA
Page 5 and 6:
Dedication This dissertation is ded
Page 7 and 8:
Table of Contents Dedication.......
Page 9 and 10:
House and the Brooklyn Academy of M
Page 11 and 12:
Bert O’States expands on the meth
Page 13 and 14:
previous related performances, are
Page 15 and 16:
“blackface” as counterfeit perf
Page 17 and 18:
demands of this transcendent notion
Page 19 and 20:
To manage such an investigation, th
Page 21 and 22:
a celebration of superiority. 20 Th
Page 23 and 24:
playbill, minstrel show script, con
Page 25 and 26:
Lano fancies himself an advocate of
Page 27 and 28:
of the African American race, and s
Page 29 and 30:
in creating the first connection be
Page 31 and 32:
In order to explain the interaction
Page 33 and 34:
performance. 29 Marionette minstrel
Page 35 and 36:
Nonetheless, it maintains the criss
Page 37 and 38:
3), into more complex types. By the
Page 39 and 40:
from the head and leg strings, can
Page 41 and 42:
leased Queen’s Hall in Liverpool
Page 43 and 44:
effectively capture the nonlinear p
Page 45 and 46:
other puppet, is not slack and seem
Page 47 and 48:
was already showing considerable ar
Page 49 and 50:
The Marionettes in Performance The
Page 51 and 52:
of an aged former slave who has esc
Page 53 and 54:
The criminal acts and dishonesty de
Page 55 and 56:
Antislavery songs in a marionette p
Page 57 and 58:
e useful to compare the joke exchan
Page 59 and 60:
the figure, once “folded up prepa
Page 61 and 62:
eginning with a wide variety of mar
Page 63 and 64:
Christy Minstrels, with their reper
Page 65 and 66:
Walter E. Deaves Edwin Deaves, Walt
Page 67 and 68:
some images of minstrel players (re
Page 69 and 70:
Yet, one cannot easily reduce the s
Page 71 and 72:
Daniel Meader Sometime after 1874,
Page 73 and 74:
lackface makeup, rather than authen
Page 75 and 76:
figure 12. His hair is slightly hig
Page 77 and 78:
puppets for the last time, he may s
Page 79 and 80:
The Meader Uncle Tom suggests the e
Page 81 and 82:
Chapter III: David Lano The Essence
Page 83 and 84:
lackface characters for ridicule; h
Page 85 and 86:
doctor. Lano then depicts the black
Page 87 and 88:
A colored quartet now sang. They we
Page 89 and 90:
The Career of David Lano While thre
Page 91 and 92:
Lano’s solo career. One of the la
Page 93 and 94:
human oddities. Like many of its ki
Page 95 and 96:
“continually transforms necessity
Page 97 and 98:
David Lano’s Work Lano’s extant
Page 99 and 100:
such as the kakunga of the Suku peo
Page 101 and 102:
The clothes are a curious blend of
Page 103 and 104:
the age of ten, he presented his ow
Page 105 and 106:
Punch murdering the Servant. Lano c
Page 107 and 108:
form by introducing sentimental mus
Page 109 and 110:
creation on the basis of active mot
Page 111 and 112:
divided between the “Sambo” and
Page 113 and 114:
Though they share in the appercepti
Page 115 and 116:
mild embarrassment on his use of Ji
Page 117 and 118:
“The marionette can be anything o
Page 119 and 120:
he [can] find them.” 147 Calthrop
Page 121 and 122:
of the Moor, who is, though still m
Page 123 and 124:
slanted and sharp, the nostrils are
Page 125 and 126:
perhaps the beginning puppeteer, wh
Page 127 and 128:
taken it from playwright Tsou Ku Ch
Page 129 and 130:
figure, who dismisses his complaint
Page 131 and 132:
Thus, the structure of the play pre
Page 133 and 134:
Chapter V: The Majors The major pup
Page 135 and 136:
Bedchamber.” 165 Sarg described:
Page 137 and 138:
Critics and fellow puppeteers prais
Page 139 and 140:
Sarg and Blackface Though Sarg neve
Page 141 and 142:
“Skin me, Brer Fox,” sez Brer R
Page 143 and 144:
possibilities of puppetry led him t
Page 145 and 146:
was common with the so-called “To
Page 147 and 148:
present his particular imaginations
Page 149 and 150:
herself in need of independent econ
Page 151 and 152:
The Essence of Puppetry for Sue Has
Page 153 and 154:
the head to the right and left, to
Page 155 and 156:
art,” and “a descendent of the
Page 157 and 158:
puppeteers to avoid complicated and
Page 159 and 160:
delicate verisimilitude for blackfa
Page 161 and 162:
Remo Bufano: The Local Emcees the E
Page 163 and 164:
Club’s stage (ca 1932) began with
Page 165 and 166:
world culture, including a Medieval
Page 167 and 168:
impressive aspects of elaborate, la
Page 169 and 170:
capture the great variety of black
Page 171 and 172:
tangled a Prime Minister marionette
Page 173 and 174:
program continued with a pair of ne
Page 175 and 176:
no good messin’ aroun’ wid whit
Page 177 and 178:
By inaugurating the action with thi
Page 179 and 180:
lackface stereotypes, but also mark
Page 181 and 182:
Brown’s puppetry work is enigmati
Page 183 and 184:
(Marionette Minstrel Show), and Bru
Page 185 and 186:
and personality for her/his creatio
Page 187 and 188:
Paris’s semiotic choices introduc
Page 189 and 190:
characters were common to the varie
Page 191 and 192:
However, the essential realism of t
Page 193 and 194:
A ninth grade Art Club in Oshkosh,
Page 195 and 196:
the Royal Marionettes, with some re
Page 197 and 198:
slips away with his clothes. The ti
Page 199 and 200:
the same moment, Mumbo commented on
Page 201 and 202:
Munger also introduced a range of a
Page 203 and 204:
minstrelsy. They would also permit
Page 205 and 206: yo all arrested.” 249 In the same
Page 207 and 208: exclamation; “Oh, my lan’! Now
Page 209 and 210: Tom. Simon Legree was a puppet base
Page 211 and 212: event led to a full season of produ
Page 213 and 214: comic context of their puppet plays
Page 215 and 216: epresentations of blacks would cont
Page 217 and 218: impressive, and touted his enterpri
Page 219 and 220: clearly believes that some other pu
Page 221 and 222: of the play to connect with African
Page 223 and 224: its length (see figure 52). Finally
Page 225 and 226: O’Neill’s take on Henri Christo
Page 227 and 228: audiences, then goes on to suggest
Page 229 and 230: Chesse’s reading of Brutus was th
Page 231 and 232: meticulous artistic strokes then, c
Page 233 and 234: Many of the lost objects may have b
Page 235 and 236: sketches would be well-served by th
Page 237 and 238: The FTP production of Little Black
Page 239 and 240: transmitted to, and circulated with
Page 241 and 242: Conclusion: Phenomenology, Authenti
Page 243 and 244: the essence of less grotesque black
Page 245 and 246: used them in plays where puppets ce
Page 247 and 248: minstrelsy-derived Topsy, as genuin
Page 249 and 250: productions featuring blackface cha
Page 251 and 252: _. Race and Ethnic Relations. 3 rd
Page 253 and 254: Durham, Weldon B. ed. American Thea
Page 255: Hill, Errol. Shakespeare in Sable:
Page 259 and 260: Powell, Herbert Preston. The World'
Page 261 and 262: Spurling, Laurie. Phenomenology and
show all

ABSTRACT Title of Dissertation: THE PHENOMENOLOGY OF ...

Create successful ePaper yourself

Delete template?

Save as template?