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Hearing orientality in (white) America, 1900-1930

ผู้แต่ง: Robert C Lancefield
สำนักพิมพ์: 2005, ©2004.
วิทยานิพนธ์: Thesis (Ph. D.)--Wesleyan University, 2005.
ครั้งที่พิมพ์/รูปแบบ:   วิทยานิพนธ์ : วิทยานิพนธ์ / ดุษฎีนิพนธ์ : Manuscript   วัสดุจดหมายเหตุ : Englishดูครั้งที่พิมพ์และรูปแบบ
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ประเภท/แบบฟอร์ม History
รูปแบบทางกายภาพเพิ่มเติม Online version:
Lancefield, Robert C.
Hearing orientality in (white) America, 1900-1930.
2005, c2004
(OCoLC)639781266
ขนิดวัสดุ: วิทยานิพนธ์ / ดุษฎีนิพนธ์, Manuscript
ประเภทของเอกสาร: หนังสือ, วัสดุจดหมายเหตุ
ผู้เขียนทั้งหมด : ผู้เขียนร่วม Robert C Lancefield
OCLC Number: 70109327
หมายเหตุ: CD-ROM includes recorded examples and figures.
คำอธิบาย: 4 v. (iv, 999 leaves) ; 29 cm. + 1 CD-ROM (sd., col. ; 4 3/4 in.)
รายละเอียด: System requirements for CD-ROM: web browser and QuickTime player or other software able to play .m4a files.
สารบัญ: 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.
ความรับผิดชอบ by Robert Charles Lancefield.

สารบัญ:

โดย rlancefield (ผู้ใช้ WorldCat บน 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)

หมายเหตุ

โดย rlancefield (ผู้ใช้ WorldCat บน 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.

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