omitir hasta el contenido
Hearing orientality in (white) America, 1900-1930 Ver este material de antemano
CerrarVer este material de antemano
Chequeando…

Hearing orientality in (white) America, 1900-1930

Autor: Robert C Lancefield
Editorial: 2005, ©2004.
Disertación: Thesis (Ph. D.)--Wesleyan University, 2005.
Edición/Formato:   Tesis/disertación : Tesis de maestría/doctorado : Manuscrito   Material de archivo : Inglés (eng)Ver todas las ediciones y todos los formatos
Base de datos:WorldCat
Calificación:

(todavía no calificado) 0 con reseñas - Ser el primero.

Temas
Más materiales como éste

 

Encontrar un ejemplar en la biblioteca

&AllPage.SpinnerRetrieving; Encontrando bibliotecas que tienen este material…

Detalles

Género/Forma: History
Formato físico adicional: Online version:
Lancefield, Robert C.
Hearing orientality in (white) America, 1900-1930.
2005, c2004
(OCoLC)639781266
Tipo de material: Tesis de maestría/doctorado, Manuscrito
Tipo de documento: Libro/Texto, Material de archivo
Todos autores / colaboradores: Robert C Lancefield
Número OCLC: 70109327
Notas: CD-ROM includes recorded examples and figures.
Descripción: 4 v. (iv, 999 leaves) ; 29 cm. + 1 CD-ROM (sd., col. ; 4 3/4 in.)
Detalles: System requirements for CD-ROM: web browser and QuickTime player or other software able to play .m4a files.
Contenido: v. 1. Preliminaries & introduction ; Part 1 (Chapters 1-3) --
v. 2. Part 2 (Chapters 4-7) --
v. 3. Part 3 (Chapters 8-10) ; Conclusion/epilogue --
v. 4. Appendices & references.
Responsabilidad: by Robert Charles Lancefield.

Tabla de contenido:

por rlancefield (Usuario de WorldCat en 2007-11-20)

Acknowledgments & Preface (iii) Introduction (1) PART 1. IMAGINING AUTHENTIC MUSICAL ORIENTALITY Essence, Body, & Voice in the Dominant U.S. Reception of Asian & Asian American Singers Chapter 1. Hearing Reinscription, Imagining Authenticity: The U.S. Reception of "Japanese Sopranos" as Native Butterflies (69) Hearing "Japanese Sopranos" as Native Butterflies (71) Butterfly as Text, Trope, and Role: Contexts for Hearing "Japanese Sopranos" (76) Typologizing Sopranos: Nation as Race as Sung Identity (82) Introducing Tamaki Miura, Interrogating Her Reception (91) Small Body, Small Voice, Authentic Orientality? (105) Selling Difference: Advertising Contexts & Audience Expectations (112) Reading Two White Women Writing Tamaki Miura (122) Universal Femininity & Singing Signs of Mentored Emancipation (137) Singing Orientality for the Nation at U.S. Political Events (156) True Grit in Kimono: Sopranos as Agents of Self-Transforming Struggle (162) Locating "Japanese Sopranos" in & out of the Opera House (168) Chapter 2. Hearing Assimilation, Representing Struggle: Tomijiro Asai, Japanese Tenor in New York (184) Prologue: From "Japanese Sopranos" to "Japanese Tenors" (186) The American Self-Presentation of & by Tomijiro Asai (193) Representing Tomijiro Asai & Tamaki Miura--Initial Impressions (203) Contesting Frames: Tomijiro Asai & The World of New York (206) Re-Presenting Tamaki Miura & Tomijiro Asai--Comparative Take 2 (225) Chapter 3. Hearing Familiar Novelty in Oriental Acts: The Presentation & Reception of Asian/Americans in Vaudeville (232) Vaudeville, Race, & Typological Novelty (233) Illusions of Authenticity in American Vaudeville's Asia (243) A Vaudeville Microstudy: Jue Quon Tai's New York Press in 1915 (268) Revisiting Audible Authenticity in Vaudevillian Voices & Bodies (279) PART 2. IMAGINING THE MIMETIC ORIENTAL BODY Yellowface Practice & Raciological Embodiment Chapter 4. Watching the Mimetic Body: Yellowface Performance as Theatrical Spectacle (289) Surveying Orientalism on the American Stage (292) Long-Lived Orientalist Productions (301) Entr'acte: Magicians' Yellowface Mysteries (304) Selected Moments of High-Profile Dramatic Yellowface (306) Musical Intertextuality in Orientalist Theater (331) Chapter 5. Staging the Mimetic Body: Grounds & Methods of Professional Yellowface (336) Blanche Bates & The Darling of the Gods (338) Walker Whiteside's Yellowface Practice (371) Racially Transforming Commodities (385) Yellowface as Drag: Mimetic Crossings of Race & Gender (394) Chapter 6. Becoming the Mimetic Body: Instructed Oriental Acts for Children (404) Musical Texts for School Instruction in Racial Mimesis (409) Phonograph Records & Orientalist Education (423) Pantomime & the Kinesthetic Transmission of Imagined Difference (442) Embodying the Oriental for God & Country, Parents & Peers: Missionary Events, Civic Pageants, & Operettas for the Young (475) Chapter 7. Being the Mimetic Body: Amateur Yellowface Play for Adults (501) The Yellow Peril--The Musical: Operettas for Adult Amateurs (501) Embodying Japanese Fighting Techniques in (White) American Homes (518) Orientalist Play & Mutual Spectatorship in Society Events (529) Imagining Asia in Connecticut: The Hartford Oriental Ball of 1914 (535) Interpretive Contexts for Orientalist Balls & Dances, Then & Now (547) Moving One's Mimetic Self Chinesely in the "Ta-Tao" (554) Resituating Authenticity/Mimesis, Repositioning the Orientalized Body (591) PART 3. IMAGINING THE MIMETIC ORIENTAL VOICE Constructing Musical Orientality in Three Media Chapter 8. Seeing & Sounding Mimetic Orientality at Home: Sheet Music & the Apparent Pleasures of Amateur Yellowvoice (599) Hearing & Sounding Yellowvoice (599) Backdrops & Contexts for Singing & Hearing Orientalist Song (604) Singing Orientality from Sheet Music, First View: Cover Art (611) Singing Orientality from Sheet Music, Second View: Lyrics (637) Singing Orientality from Sheet Music, Third View: Musical Notation (703) Signifying Musical Moves in Microcontexts (739) Chapter 9. Listening to Professional Mimetic Orientality: Mechanical Traces & the Racial Grain of Recorded Yellowvoice (769) Piano Rolls as a Liminal Media Technology for Experiencing Race (772) Hearing Orientality in Commercial Sound Recordings (773) Musical Practices of the Racially Mimetic Voice (782) Instrumental Voices & the Ensemble Mimesis of Orientality (791) Orientality & "Jazz" Revisited in Mediated Performance (811) Coda: Glancing back at Orientality Experienced through Two Media (822) Chapter 10. Hearing Race in Cinematic Shadows (Segue Out): Musical Orientality in Silent & Sound Film (824) Crafting the Audible Orientality of Silent Shadows (827) Racially Figuring Music in Broken Blossoms & Dream Street (830) Synchronizing the Sound & Sight of Orientality (853) Scoring Hollywood's Orient: "Standard Practice" & Later Figurations (862) Conclusion/Epilogue: Findings, Echoes, Contestations (875) Appendix 1. Sources & Methods (902) Appendix 2. List of Recorded Examples (907) Appendix 3. List of Figures (922) Appendix 4. Sheet Music Subcorpus for Lyrics Content Analysis (941) Appendix 5. Approximate Historical Dollar Equivalents (956) References (957)

Notas:

por rlancefield (Usuario de WorldCat en 2007-11-20)

Abstract: The performance of gendered racial stereotypes is a powerful tool for fostering belief in essentialized human categories. In the early 20th-century United States, supposedly Chinese and Japanese orientality was enacted by white people playing Asian Others and by Asian and Asian American performers widely believed to embody authentic racial difference. As modes of representation and grounds for interpretive acts of reception, these practices could offer troubled meetings of music, ideology, and cultural hegemony. In many such moments, sonic experience gave specifically musical weight to raciological ideas about orientality, whiteness, and Americanness. White Americans made diverse but hegemonically guided meanings from experiences framed by white nativist and other dominant discourses. In contexts fraught with anti-Asian racism, ideas about music, race, the voice, and the body could support belief in a dangerous (male) "yellow peril" or a safely distant, aestheticized (female) orient of kimono and fans. Reinscribing such tropes along with narratives of exclusion or assimilation, performance gave deceptively compelling support to typologies of difference. Naturalizing rhetorics of authenticity suffused European American responses to Tamaki Miura and other Japanese sopranos performing "Madame Butterfly" and to Asian Americans in vaudeville. Many listeners heard Tomijiro Asai's oratorio excerpts as singing his assimilation. Notions of mimetic skill underpinned reviews of white orientalist performers. Blanche Bates and Walker Whiteside recounted experiential grounds for their yellowface techniques. Pantomimes, operettas, martial arts, and society balls fostered children's and adults' amateur mimesis. The ta-tao, an ostensibly Chinese social dance, offered an antidote to tango-induced moral panic. Orientalism in popular music could promise exotic alternatives to the supposed dangers of African American practices or hybrid novelty with "jazz" gestures. Some white performers sang orientality through mimetic practices examined as "yellowvoice." Sheet music supported domestic singing, and recordings document professional acts ranging from comedy monologues to fox-trot choruses. Musical aspects of silent cinema exhibition supported orientalist spectatorship of works including Griffith's "Broken Blossoms"; some presented scenes of music-making. Hollywood film scoring and other recent practices often echo earlier acts. This interdisciplinary work offers connections to Ethnomusicology, American Studies, Performance Studies, Cultural Studies, and Media Studies.

Reseñas

Reseñas contribuidas por usuarios
Recuperando reseñas de GoodReads…
Recuperando reseñas de DOGObooks…

Etiquetas

Ser el primero.
Confirmar este pedido

Ya ha pedido este material. Escoja OK si desea procesar el pedido de todos modos.

Datos enlazados


<http://www.worldcat.org/oclc/70109327>
bgn:inSupportOf"Thesis (Ph. D.)--Wesleyan University, 2005."
library:oclcnum"70109327"
rdf:typeschema:Book
rdf:typebgn:Thesis
rdf:valueUnknown value: mss
rdf:valueUnknown value: deg
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:copyrightYear"2004"
schema:creator
schema:datePublished"2005"
schema:description"v. 1. Preliminaries & introduction ; Part 1 (Chapters 1-3) -- v. 2. Part 2 (Chapters 4-7) -- v. 3. Part 3 (Chapters 8-10) ; Conclusion/epilogue -- v. 4. Appendices & references."
schema:exampleOfWork<http://worldcat.org/entity/work/id/51509834>
schema:genre"History"
schema:inLanguage"en"
schema:name"Hearing orientality in (white) America, 1900-1930"
schema:publication
wdrs:describedby

Content-negotiable representations

Cerrar ventana

Inicie una sesión con WorldCat 

¿No tienes una cuenta? Puede fácilmente crear una cuenta gratuita.