DOCSLIB.ORG

OH MY GOD, THAT NIGGER SAID GUN!”: Use of Ethnic Humor in Modern Stand-Up Comedy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
OH MY GOD, THAT NIGGER SAID GUN!”: Use of Ethnic Humor in Modern Stand-Up Comedy ”OH MY GOD, THAT NIGGER SAID GUN!”: Use of ethnic humor in modern stand-up comedy Master’s thesis Ville Jakoaho and Sami Marjamäki University of Jyväskylä Department of Languages English February 2012 JYVÄSKYLÄN YLIOPISTO Tiedekunta – Faculty Laitos – Department Humanistinen tiedekunta Kielten laitos Tekijä – Author Ville Jakoaho ja Sami Marjamäki Työn nimi – Title “OH MY GOD, THAT NIGGER SAID GUN!”: Use of ethnic humor in modern stand-up comedy Oppiaine – Subject Työn laji – Level englanti Pro gradu -tutkielma Aika – Month and year Sivumäärä – Number of pages helmikuu 2012 117 sivua Tiivistelmä – Abstract Tutkielman tavoitteena oli selvittää, miten etninen huumori ilmenee modernissa stand-up komediassa. Tarkemmin sanottuna tutkielman kiinnostuksen kohde oli tutkia mihin tai keneen etninen huumori kohdistuu, ja mitä eri funktioita sillä saattaa olla. Tutkielmassa analysoitiin seitsemää eri stand-up esitystä viideltä eri amerikkalaiselta koomikolta, joista kaikki kuuluvat etnisiin vähemmistöryhmiin. Tutkielmassa käytetyt esitykset ovat live-esityksiä, jotka ovat julkaistu DVD formaattina. Tutkielma pohjautuu kriittiseen diskurssintutkimukseen ja keskeisenä metodina käytettiin Norman Fairclough:n kolmiulotteista diskurssimallia. Kriittisen diskurssintutkimuksen avulla pyrimme selvittämään sekä kielenkäytön tehtäviä että niiden vaikutuksia vitseissä, ja mitä mahdollisia implikaatioita koomikoiden vitseissä käyttämillä metodeilla on joko etnisten stereotypioiden vahvistamiseen tai heikentämiseen. Tutkielmassa havaittiin, että koomikoiden käyttämä etninen huumori kohdistui pääasiassa yhteiskunnan niin sanottuja dominoivia ryhmiä kohtaan etnisten vähemmistöjen sijaan. Näihin vähemmistöihin kohdistuvat vitsit olivat kuitenkin usein kyseisiä vähemmistöryhmiä puolustavia. Etnisiin vähemmistöihin kohdistui kritiikkiä tai pilkkaa yleensä vain silloin, kun vitsin kertoja itse kuului kyseiseen vähemmistöryhmään. Vaikka etninen huumori pohjautuu usein vähemmistöjä negatiivisesti kuvaaviin stereotypioihin, voidaan koomikoiden nähdä heikentävän kyseisiä stereotypioita eri metodien, esimerkiksi ironian, avulla. Asiasanat – Keywords ethnic humor, stereotypes, stand-up comedy, critical discourse analysis, three-dimensional model of discourse, joke relationship Säilytyspaikka – Kielten laitos TABLE OF CONTENTS 1 Introduction .......................................................................................................................... 1 2 Stand-up comedy and theories of humor ................................................................... 4 2.1 Stand-up comedy ...................................................................................................................... 4 2.1.1 History and development of stand-up comedy .............................................................. 6 2.1.2 Venue and the role of the audience .................................................................................... 10 2.1.3 Joking in stand-up comedy ..................................................................................................... 11 2.2 Theories of humor .................................................................................................................. 14 2.2.1 Incongruity theories ................................................................................................................... 15 2.2.2 Hostility theories ......................................................................................................................... 16 2.2.3 Release theories ............................................................................................................................ 17 2.2.4 The General Theory of Verbal Humor .............................................................................. 18 3 Stereotypes, ethnic humor and discourse analysis .............................................. 23 3.1 Stereotypes and ethnic humor ........................................................................................... 23 3.1.1 Stereotypes ...................................................................................................................................... 23 3.1.2 Ethnic humor ................................................................................................................................. 25 3.2 Discourse analysis .................................................................................................................. 31 3.2.1 The nature of discourse analysis .................................................................................... 32 3.2.2 Critical discourse analysis ....................................................................................................... 33 3.2.3 Fairclough’s three-dimensional model of discourse .................................................. 35 3.2.4 Discourse as Text ......................................................................................................................... 37 3.2.5 Discursive Practice ...................................................................................................................... 38 3.2.6 Discourse as Social Practice .................................................................................................... 39 3.2.7 The order of discourse .............................................................................................................. 42 3.2.8 Previous discourse studies on race, ethnicity and humor ....................................... 42 4 The present study ............................................................................................................ 45 4.1 Research questions ................................................................................................................. 45 4.2 Data .............................................................................................................................................. 46 4.3 Methodology ............................................................................................................................ 49 3.3.1 Content analysis and identifying joke categories within ethnic humor ........... 49 4.3.2 Joke relationships within ethnic humor ........................................................................... 52 4.3.3 Fairclough’s method for analyzing discourse ............................................................... 53 5 Analysis and results ........................................................................................................ 58 5.1 Sword and Shield ................................................................................................................... 58 5.2 Social criticism and reshaping discourse ....................................................................... 77 6 Discussion and conclusions ....................................................................................... 103 7 Bibliography .................................................................................................................... 110 1 1 Introduction In the past few decades, stand-up comedy has become a popular form of entertainment all around the world. The most famous performers draw large masses of viewers similar to large events, such as concerts. Some comedians have used their popularity to move on to larger ventures, such as the cinema and television series. Two of the most famous examples of this are arguably Jerry Seinfeld, who has become one of the most known characters in the history of television and Chris Rock, who has appeared in numerous movies. Stand-up comedy can therefore be seen as a highly relevant topic of discussion and study regarding culture. Ethnic humor can be seen as one of the most prominent topics in modern stand-up comedy. Furthermore, many of the prominent modern stand-up comedians represent ethnic minorities, which makes the study of ethnic humor in stand-up comedy a relevant research topic. Humor and jokes have traditionally been researched from the point of view of humor theories. There has been a long tradition of humor research, which can be traced as far back as classical Greek philosophers. Humor research can be considered to be an interdisciplinary field, and this is evident when viewing the classic theories of humor that have been influenced by various disciplines. These humor theories each have a distinct approach to explaining humor and laughter. While it is important to take theories of humor into account, it is also necessary to view them critically since humor has evolved over time, especially in stand-up comedy. In the past, ethnic humor has largely been associated with humor that ridicules minorities based on stereotypes. This has nearly always been achieved from a dominant group’s point of view. For instance, jokes may have featured a 2 Caucasian group ridiculing Polish people for their stereotypical characteristics. These jokes are often short, many times consisting of a single question and an answer that serves as the punch line. Modern stand-up comedy, however, is significantly different in structure. Jokes in stand-up comedy can be very long, often featuring a narrative that the comedian uses in order to tell a story to the audience. While the structure of the jokes is different compared to traditional jokes, modern stand-up comedy still draws on ethnic stereotypes. However, it can be argued that the use of stereotypes in stand-up comedy can serve different purposes, instead of focusing solely on negative aspects that can be associated
Load more

Recommended publications
  • Racism As Observed by White Youth? Do White Youth Believe the Term Newfie Is an Ethnic Slur? What Are White Youths’ Views of Canada’S Response to the Syrian Crisis?
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Memorial University Research Repository THE MANIFESTATIONS OF PREJUDICE IN EVERYDAY LIFE: AN EXAMINATION OF RACIAL MICROAGGRESSIONS, ETHNOPHAULISMS, AND INTEGRATED THREATS AS OBSERVED BY WHITE POST-SECONDARY YOUTH IN ST. JOHN’S, NEWFOUNDLAND AND LABRADOR JAMES BAKER MCMASTER UNIVERSITY MAY 2017 2015-16 APPLIED RESEARCH FUND The Manifestations of Prejudice in Everyday Life: An Examination of Racial Microaggressions, Ethnophaulisms, and Integrated Threats as Observed by White Post-Secondary Youth in St. John’s, Newfoundland and Labrador James Baker Banting Postdoctoral Fellow McMaster University Acknowledgements I would like to thank the Leslie Harris Centre of Regional Policy and Development, Memorial University, for providing financial support (through its Applied Research Fund) to conduct this research. I would also like to express sincere gratitude to those individuals who chose to participate in the interviews as well as my research assistant, Crystal Cline, who did a fantastic job in providing research support for this project. I also owe a sincere debt of gratitude to Dr. Amanda Bittner, Associate Professor, Department of Political Science, who acted as a the grant holder so that this research could be undertaken. i Executive Summary With the arrival of some 250 Syrian refugees to Newfoundland and Labrador in 2015, there has been much news coverage of the crisis both at the provincial and national level. Unfortunately, over the past few months, reader comments on on-line news stories from local provincial media (e.g., CBC, VOCM, The Telegram) have expressed a very negative and often prejudiced view on whether Newfoundland and Labrador should accept more refugees.
    [Show full text]
  • {DOWNLOAD} Semiotics: the Basics
    SEMIOTICS: THE BASICS PDF, EPUB, EBOOK Daniel Chandler | 328 pages | 01 Jul 2007 | Taylor & Francis Ltd | 9780415363754 | English | London, United Kingdom semiotics | Definition, Theory, Examples, & Facts | Britannica Get exclusive access to content from our First Edition with your subscription. Subscribe today. Learn More in these related Britannica articles:. The current usage was recommended especially by Rudolf Carnap—see his Introduction to Semantics and…. Each of these semiotic systems may in turn be represented by a notational system, a system for representing the semiotic system. Thus, writing can be defined formally as a notational system…. History at your fingertips. Sign up here to see what happened On This Day , every day in your inbox! Topics from this paper. Interaction Information. Chandler software Literal mathematical logic. Citation Type. Has PDF. Publication Type. More Filters. The semiotic perspectives of peirce and saussure: A brief comparative study. Open Access. Research Feed. View 1 excerpt, cites background. These insights brought Barthes very much in line with similar Marxist theory. Algirdas Julien Greimas — developed a structural version of semiotics named, "generative semiotics", trying to shift the focus of discipline from signs to systems of signification. Thomas A. Sebeok — , a student of Charles W. Morris, was a prolific and wide-ranging American semiotician. Although he insisted that animals are not capable of language, he expanded the purview of semiotics to include non-human signaling and communication systems, thus raising some of the issues addressed by philosophy of mind and coining the term zoosemiotics. Sebeok insisted that all communication was made possible by the relationship between an organism and the environment in which it lives.
    [Show full text]
  • Re-Presenting Black Masculinities in Ta-Nehisi Coates's
    Re-Presenting Black Masculinities in Ta-Nehisi Coates’s Between the World and Me by Asmaa Aaouinti-Haris B.A. (Universitat de Barcelona) 2016 THESIS/CAPSTONE Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in HUMANITIES in the GRADUATE SCHOOL of HOOD COLLEGE April 2018 Accepted: ________________________ ________________________ Amy Gottfried, Ph.D. Corey Campion, Ph.D. Committee Member Program Advisor ________________________ Terry Anne Scott, Ph.D. Committee Member ________________________ April M. Boulton, Ph.D. Dean of the Graduate School ________________________ Hoda Zaki, Ph.D. Capstone Advisor STATEMENT OF USE AND COPYRIGHT WAIVER I do authorize Hood College to lend this Thesis (Capstone), or reproductions of it, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. ii CONTENTS STATEMENT OF USE AND COPYRIGHT WAIVER…………………………….ii ABSTRACT ...............................................................................................................iv DEDICATION………………………………………………………………………..v ACKNOWLEDGEMENTS……………………………………………………….....vi Chapter 1: Introduction…………………………………………………………….…2 Chapter 2: Black Male Stereotypes…………………………………………………12 Chapter 3: Boyhood…………………………………………………………………26 Chapter 4: Fatherhood……………………………………………………………....44 Chapter 5: Conclusion…………………………………………………………...….63 WORKS CITED…………………………………………………………………….69 iii ABSTRACT Ta-Nehisi Coates’s memoir and letter to his son Between the World and Me (2015)—published shortly after the emergence of the Black Lives Matter movement—provides a rich and diverse representation of African American male life which is closely connected with contemporary United States society. This study explores how Coates represents and explains black manhood as well as how he defines his own identity as being excluded from United States society, yet as being central to the nation. Coates’s definition of masculinity is analyzed by focusing on his representations of boyhood and fatherhood.
    [Show full text]
  • Word Search Tiffany (Simon) (Dreama) Walker Conflicts Call (972) 937-3310 © Zap2it
    Looking for a way to keep up with local news, school happenings, sports events and more? February 10 - 16, 2017 2 x 2" ad 2 x 2" ad We’ve got you covered! waxahachietx.com How Grammy V A H A D S D E A M W A H K R performances 2 x 3" ad E Y I L L P A S Q U A L E P D Your Key M A V I A B U X U B A V I E R To Buying L Z W O B Q E N K E H S G W X come together S E C R E T S R V B R I L A Z and Selling! 2 x 3.5" ad C N B L J K G C T E W J L F M Carrie Underwood is slated to A D M L U C O X Y X K Y E C K perform at the 59th Annual Grammy Awards Sunday on CBS. R I L K S U P W A C N Q R O M P I R J T I A Y P A V C K N A H A J T I L H E F M U M E F I L W S G C U H F W E B I L L Y K I T S E K I A E R L T M I N S P D F I T X E S O X F J C A S A D I E O Y L L N D B E T N Z K O R Z A N W A L K E R S E “Doubt” on CBS (Words in parentheses not in puzzle) Sadie (Ellis) (Katherine) Heigl Lawyers Place your classified Solution on page 13 Albert (Cobb) (Dulé) Hill Justice ad in the Waxahachie Daily 2 x 3" ad Billy (Brennan) (Steven) Pasquale Secrets Light, Midlothian1 xMirror 4" ad and Cameron (Wirth) (Laverne) Cox Passion Ellis County Trading Post! Word Search Tiffany (Simon) (Dreama) Walker Conflicts Call (972) 937-3310 © Zap2it 2 x 3.5" ad 2 x 4" ad 4 x 4" ad 6 x 3" ad 16 Waxahachie Daily Light homa City Thunder.
    [Show full text]
  • Comedian Lewis Black Brings the Rant, White and Blue Tour to Worcester This Fall
    FOR IMMEDIATE RELEASE Comedian Lewis Black brings the Rant, White and Blue Tour to Worcester This Fall Worcester, Mass. (May 15, 2017) Lewis Black, Grammy Award-winning stand-up comedian, is one of the most prolific and popular performers working today. He executes a brilliant trifecta as a stand-up comedian, actor and author and he’s coming back to The Hanover Theatre for the Performing Arts. Lewis Black: The Rant, White & Blue Tour is coming for one show only on Friday, October 13 at 8 p.m. Tickets go on sale to members on Wednesday, May 17 at 10 a.m. Tickets go on sale to the public on Friday, May 19 at 10 a.m. His live performances provide a cathartic release of anger and disillusionment for his audience. Lewis Black is a passionate performer who is a more pissed-off optimist than a mean-spirited curmudgeon. He is the rare comic who can cause an audience to laugh themselves into incontinence while making compelling points about the absurdity of our world. Lewis Black came into national prominence with his appearances on “The Daily Show” in 1996. Those appearances on “The Daily Show” led to comedy specials on HBO, Comedy Central, Showtime and Epix. In 2001, he won Best Male Stand-Up at the American Comedy Awards. He has released eight comedy albums, including the 2007 Grammy Award-winning “The Carnegie Hall Performance.” He won his second Grammy Award for his album “Stark Raving Black” and has published three bestselling books: “Nothing’s Sacred” (Simon & Schuster, 2005), “Me of Little Faith” (Riverhead Books, 2008) and “I’m Dreaming of a Black Christmas” (Riverhead Books, 2010).
    [Show full text]
  • Hawai'i Ethnic Humor, Local Identity and the Myth of Multiculturalism
    Pragmatics 14:2/3.291-316 (2004) International Pragmatics Association “WE CAN LAUGH AT OURSELVES”: HAWAI‘I ETHNIC HUMOR, LOCAL IDENTITY AND THE MYTH OF MULTICULTURALISM1 Roderick N. Labrador Abstract Hawai‘i’s multiculturalism and perceived harmonious race and ethnic relations are widely celebrated in popular and academic discourse. The image of Hawai‘i as a “racial paradise,” a rainbow of peacefully co- existing groups, partially stems from the fact that among the various racial and ethnic groups there is no numerical majority and from the common belief in equality of opportunity and status. Hawai‘i ethnic humor is part and parcel of the maintenance and continued reinforcement of the notion of Hawai‘i as “racial paradise” with underlying racializing and stigmatizing discourses that disguise severe social inequalities and elide differential access to wealth and power. In this paper, I examine the intersection of language, humor, and representation by analyzing the linguistic practices in the comedy performances of Frank DeLima, a pioneer in Hawai‘i ethnic humor, and excerpts from Buckaloose: Shmall Keed Time (Small Kid Time), a comedy CD by Da Braddahs, a relatively new but tremendously popular comedy duo in Hawai‘i. Central to these comedy performances is the use of a language variety that I call Mock Filipino, a strategy often employed by Local comedians to differentiate the speakers of Philippine languages from speakers of Hawai‘i Creole English (or Pidgin). A key component to understanding the use of Mock Filipino is the idea of “Local” as a cultural and linguistic identity category and its concomitant multiculturalist discourse.
    [Show full text]
  • 10-25-19 Lewis Black
    Media Contact: Barbara Hiller, Marketing Manager 301-600-2868 | [email protected] FOR IMMEDIATE RELEASE Lewis Black “It Gets Better Every Day” 2020 Tour Makes a Stop at Weinberg Center FREDERICK, MD, October 28, 2019 — Lewis Black the Grammy Award-winning, stand-up comedian announces his 2020 tour, ‘It Gets Better Every Day’ with a stop at the Weinberg Center for the Arts in Frederick Maryland on Friday, May 8, 2020 at 8:00 PM Tickets go on-sale to Weinberg Center members tomorrow, Tuesday, October 29th at 10:00 AM and to the public Friday, November 1st at 10:00 AM. Official Fan Club Members will have early access to tickets as well, within the first 10 rows, on Thursday, October 31st. These tickets can only be purchased through lewisblack.com. All other tickets can be purchased online at WeinbergCenter.org, by phone at 301-600- 2828 or in person at 20 West Patrick Street. There is also a Student ticket price of $25. Black is one of the most prolific and popular performers working today. He executes a brilliant trifecta as a stand-up comedian, actor, and author. Receiving critical acclaim, he performs more than 200 nights annually, to sold-out audiences throughout Europe, New Zealand, Canada, and the United States. He is one of a few performers to sell out multiple renowned theaters, including Carnegie Hall, Lincoln Center, Brooks Atkinson Theatre, New York City Center, the Main Stage at the Mirage in Las Vegas and a sold-out Broadway run at the Richard Rodgers Theatre in New York City.
    [Show full text]
  • Extending Ethnic Humour Theory: Genuine Vs. Functional Ethnic Jokе Scripts
    http://dx.doi.org/10.7592/EJHR2018.6.2.takovski European Journal of Humour Research 6 (2) 60–80 www.europeanjournalofhumour.org Extending ethnic humour theory: Genuine vs. functional ethnic jokе scripts Aleksandar Takovski South East European University [email protected] Abstract Most ethnic humour that has been studied so far consists of jokes which use ethnically non- specific qualities such as stupidity or canniness in order to ridicule an ethnic group and thus to preserve and perpetuate ethnically based social hierarchies in western industrial societies. In light of this dominant logic in ethnic humour theory, the objective of this study is to problematize the relation of such non-ethnic qualities and the notion of ethnic identity, as well as their relation to a specific type of society, in an attempt to convincingly argue in favour of the need to differentiate between ‘ethnically-empty’ functional joke scripts and genuine ethnic joke scripts that are related to the ethnic identity of the target. In so doing, I extend ethnic humour theory by introducing and testing the notion of genuine ethnic joke scripts in order to motivate future research that will tackle other potential ethnic humour idiosyncrasies. Toward this end, I have collected and analysed joke material (N=369) coming from Macedonia, Bulgaria, Serbia, and Albania, societies with histories and relations very different that those in the western industrial societies. Additionally, the study incorporates two questionnaires with members of the two largest ethnicities in the Republic of Macedonia, Macedonians and Albanians, to ascertain the relation between the genuine ethnic humour and ethnic identity.
    [Show full text]
  • COMEDY CENTRAL Records Releases Ryan Stout's "Touche" Debut Digital Album on December 6
    COMEDY CENTRAL Records Releases Ryan Stout's "Touche" Debut Digital Album on December 6 NEW YORK, Nov. 21, 2011 /PRNewswire/ -- Ryan Stout tends to say the wrong thing – in exactly the right way. Or, maybe, it's the right thing in the wrong way! In any case, COMEDY CENTRAL Records releases Ryan Stout's debut digital album, "Touche" on Tuesday, December 6. Recorded live at Acme Comedy Company in Minneapolis, MN, "Touche" is packed with complex twists, unexpected turns, and sharp punch lines. Exploring morally repugnant subject matter with smart and sterile objectivity, Stout's delightful insincerity and self-righteousness make this digital album both witty and wicked. To assure his brand of "offensive humor" stays on an intellectual level, he generally keeps profanity out of his act, even while touching on such subjects as sexual assault and abortion in his own clever manner. Ryan Stout has toured the globe with his extremely well-crafted stand-up for more than ten years. When he was only 22 years old, he won first place in the Boston International Comedy Festival's Stand-up Comedy Competition. Many opportunities soon followed, including performances at "The Comedy Festival" in Las Vegas, at HBO's "U.S. Comedy Arts Festival" in Aspen, and at the prestigious "Just for Laughs" International Comedy Festival in Montreal. In the world of television, Stout has hosted various series and specials for MTV, including the iconic "MTV's Spring Break." He has appeared as a regular guest on "Chelsea Lately," made his late-night stand-up debut on "Conan,"
    [Show full text]
  • An Interview with Lewis Black
    An Interview with Lewis Black Okee dokee folks…For all of you folks who like to be the company of intelligent, critical thinkers who like to laugh a lot then you should be at Providence Performing Arts Center on Thursday, November 8th when Lewis Black brings in his “The Joke’s On Us” Tour. Black is one of today’s preeminent political/social comedians whose humor/philosophy aligns with with Bill Maher, Jon Stewart, Stephen Colbert and the late George Carlin. After all that has been going on an evening of levity could just be what the doctor ordered. Hopefully the joke won’t be on us and this post election day performance will give us a chance to laugh comfortably. I had a chance to speak with Lewis Black again and you can read the complete interview below. For more about the show, meltdown to www.PPACRI.com Lewis Black: Hi, it’s Lewis Black John Fuzek (Motif): Hey, how are you? LB: Sorry for the delay, there was nothing I could do about it, they put four of these (interviews) back to back and it gets crazy! JF: No worries! How are you? LB: Oh, it gets better everyday, doesn’t it? Every day is just more of the wonder and joy. It’s just what I’ve been waiting for…for these golden years to be really golden, almost as if I am standing by a fire (laughs) JF: Are in you in New York? LB: No, I am in Fort Meyers Florida, I have a show tonight JF: You still live in New York though? LB: Yes JF: How many shows are part of this tour? LB: Around 35, September until some time in December, three or four shows a weekend JF:How do you maintain your sanity and not have your head explode these days? LB: You watch the first news cycle and turn it off! That’s what you do.
    [Show full text]
  • Department of English and American Studies English Language and Literature
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Erich Poncza The Impact of American Minstrelsy on Blackface in Europe Bachelor’s Diploma Thesis Supervisor: Jeffrey Alan Vanderziel, B.A. 2017 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature 1 I would like to thank my supervisor Jeffrey Alan Vanderziel, B.A. for his guidance and help in the process of writing my bachelor´s theses. 2 Table of Contents Introduction……………………………………………………………..………....……5 1. Stereotyping………………………………………..…….………………..………….6 2. Origins of Blackface………………………………………………….…….……….10 3. Blackface Caricatures……………………………………………………………….13 Sambo………………………………………………………….………………14 Coon…………………………………………………………………….……..15 Pickaninny……………………………………………………………………..17 Jezebel…………………………………………………………………………18 Savage…………………………………………………………………………22 Brute……………………………………………………….………........……22 4. European Blackface and Stereotypes…………………………..……….….……....26 Minstrelsy in England…………………………………………………………28 Imagery………………………………………………………………………..31 Blackface………………………………………………………..…………….36 Czech Blackface……………………………………………………………….40 Conclusion…………………………………………………………………………….44 Images…………………………………………………………………………………46 Works Cited………………………………………………………………….………..52 Summary………………………………………………………….……………………59 Resumé……………………………………………………………………..………….60 3 Introduction Blackface is a practice that involves people, mostly white, painting their faces
    [Show full text]
  • The Fruits of Empire: Contextualizing Food in Post-Civil War American Art and Culture
    University of New Mexico UNM Digital Repository Art & Art History ETDs Electronic Theses and Dissertations 5-1-2015 The rF uits of Empire: Contextualizing Food in Post-Civil War American Art and Culture Shana Klein Follow this and additional works at: https://digitalrepository.unm.edu/arth_etds Recommended Citation Klein, Shana. "The rF uits of Empire: Contextualizing Food in Post-Civil War American Art and Culture." (2015). https://digitalrepository.unm.edu/arth_etds/6 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Art & Art History ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. i Shana Klein Candidate Art and Art History Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Dr. Kirsten Buick , Chairperson Dr. Catherine Zuromskis Dr. Kymberly Pinder Dr. Katharina Vester ii The Fruits of Empire: Contextualizing Food in Post-Civil War American Art and Culture by Shana Klein B.A., Art History, Washington University in Saint Louis M.A., Art History, University of New Mexico, Albuquerque Ph.D., Art History, University of New Mexico, Albuquerque DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Art History The University of New Mexico Albuquerque, New Mexico May, 2015 iii ACKNOWLEDGEMENTS I would first like to acknowledge the bottomless amounts of support I received from my advisor, Dr. Kirsten Buick. Dr. Buick gave me the confidence to pursue the subject of food in art, which at first seemed quirky and unusual to many.
    [Show full text]