Ethnic Notions
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Children's Books & Illustrated Books
CHILDREN’S BOOKS & ILLUSTRATED BOOKS ALEPH-BET BOOKS, INC. 85 OLD MILL RIVER RD. POUND RIDGE, NY 10576 (914) 764 - 7410 CATALOGUE 94 ALEPH - BET BOOKS - TERMS OF SALE Helen and Marc Younger 85 Old Mill River Rd. Pound Ridge, NY 10576 phone 914-764-7410 fax 914-764-1356 www.alephbet.com Email - [email protected] POSTAGE: UNITED STATES. 1st book $8.00, $2.00 for each additional book. OVERSEAS shipped by air at cost. PAYMENTS: Due with order. Libraries and those known to us will be billed. PHONE orders 9am to 10pm e.s.t. Phone Machine orders are secure. CREDIT CARDS: VISA, Mastercard, American Express. Please provide billing address. RETURNS - Returnable for any reason within 1 week of receipt for refund less shipping costs provided prior notice is received and items are shipped fastest method insured VISITS welcome by appointment. We are 1 hour north of New York City near New Canaan, CT. Our full stock of 8000 collectible and rare books is on view and available. Not all of our stock is on our web site COVER ILLUSTRATION - #307 - ORIGINAL ART BY MAUD HUMPHREY FOR GALLANT LITTLE PATRIOTS #357 - Meggendorfer Das Puppenhaus (The Doll House) #357 - Meggendorfer Das Puppenhaus #195 - Detmold Arabian Nights #526 - Dr. Seuss original art #326 - Dorothy Lathrop drawing - Kou Hsiung (Pekingese) #265 - The Magic Cube - 19th century (ca. 1840) educational game Helen & Marc Younger Pg 3 [email protected] THE ITEMS IN THIS CATALOGUE WILL NOT BE ON RARE TUCK RAG “BLACK” ABC 5. ABC. (BLACK) MY HONEY OUR WEB SITE FOR A FEW WEEKS. -
Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937
An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937 Peter Stanfield Cinema Journal, 41, Number 2, Winter 2002, pp. 84-108 (Article) Published by University of Texas Press DOI: 10.1353/cj.2002.0004 For additional information about this article http://muse.jhu.edu/journals/cj/summary/v041/41.2stanfield.html Access Provided by Amherst College at 09/03/11 7:59PM GMT An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929–1937 by Peter Stanfield This essay considers how Hollywood presented the song St. Louis Blues in a num- ber of movies during the early to mid-1930s. It argues that the tune’s history and accumulated use in films enabled Hollywood to employ it in an increasingly com- plex manner to evoke essential questions about female sexuality, class, and race. Recent critical writing on American cinema has focused attention on the struc- tures of racial coding of gender and on the ways in which moral transgressions are routinely characterized as “black.” As Eric Lott points out in his analysis of race and film noir: “Raced metaphors in popular life are as indispensable and invisible as the colored bodies who give rise to and move in the shadows of those usages.” Lott aims to “enlarge the frame” of work conducted by Toni Morrison and Ken- neth Warren on how “racial tropes and the presence of African Americans have shaped the sense and structure of American cultural products that seem to have nothing to do with race.”1 Specifically, Lott builds on Manthia D iawara’s argument that “film is noir if it puts into play light and dark in order to exhibit a people who become ‘black’ because of their ‘shady’ moral behaviour.2 E. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Passing for Black: Coon Songs and the Performance of Race Patricia R
Ursinus College Digital Commons @ Ursinus College English Faculty Publications English Department 6-9-2010 Passing for Black: Coon Songs and the Performance of Race Patricia R. Schroeder Ursinus College Follow this and additional works at: https://digitalcommons.ursinus.edu/english_fac Part of the African American Studies Commons, American Studies Commons, Ethnomusicology Commons, Music Performance Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the United States History Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Schroeder, Patricia R., "Passing for Black: Coon Songs and the Performance of Race" (2010). English Faculty Publications. 4. https://digitalcommons.ursinus.edu/english_fac/4 This Article is brought to you for free and open access by the English Department at Digital Commons @ Ursinus College. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. 1 Passing for Black: Coon Songs and the Performance of Race Until recently, scholars exploring blackface minstrelsy or the accompanying “coon song craze” of the 1890s have felt the need to apologize, either for the demeaning stereotypes of African Americans embedded in the art forms or for their own interest in studying the phenomena. Robert Toll, one of the first critics to examine minstrelsy seriously, was so appalled by its inherent racism that he focused his 1974 work primarily on debunking the stereotypes; Sam Dennison, another pioneer, did likewise with coon songs. Richard Martin and David Wondrich claim of minstrelsy that “the roots of every strain of American music—ragtime, jazz, the blues, country music, soul, rock and roll, even hip-hop—reach down through its reeking soil” (5). -
Resistance, Language and the Politics of Freedom in the Antebellum North
Masthead Logo Smith ScholarWorks History: Faculty Publications History Summer 2016 The tE ymology of Nigger: Resistance, Language, and the Politics of Freedom in the Antebellum North Elizabeth Stordeur Pryor Smith College Follow this and additional works at: https://scholarworks.smith.edu/hst_facpubs Part of the History Commons Recommended Citation Pryor, Elizabeth Stordeur, "The tE ymology of Nigger: Resistance, Language, and the Politics of Freedom in the Antebellum North" (2016). History: Faculty Publications, Smith College, Northampton, MA. https://scholarworks.smith.edu/hst_facpubs/4 This Article has been accepted for inclusion in History: Faculty Publications by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected] The Etymology of Nigger: Resistance, Language, and the Politics of Freedom in the Antebellum North Elizabeth Stordeur Pryor Journal of the Early Republic, Volume 36, Number 2, Summer 2016, pp. 203-245 (Article) Published by University of Pennsylvania Press DOI: https://doi.org/10.1353/jer.2016.0028 For additional information about this article https://muse.jhu.edu/article/620987 Access provided by Smith College Libraries (5 May 2017 18:29 GMT) The Etymology of Nigger Resistance, Language, and the Politics of Freedom in the Antebellum North ELIZABETH STORDEUR PRYOR In 1837, Hosea Easton, a black minister from Hartford, Connecticut, was one of the earliest black intellectuals to write about the word ‘‘nigger.’’ In several pages, he documented how it was an omni- present refrain in the streets of the antebellum North, used by whites to terrorize ‘‘colored travelers,’’ a term that elite African Americans with the financial ability and personal inclination to travel used to describe themselves. -
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 -
“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in His Early Songs
“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2011 by Kimberly Gelbwasser B.M., Northwestern University, 2004 M.M., University of Cincinnati, 2006 Committee Chair: Steven Cahn, Ph.D. Abstract During the late nineteenth and early twentieth centuries, millions of immigrants from Central and Eastern Europe as well as the Mediterranean countries arrived in the United States. New York City, in particular, became a hub where various nationalities coexisted and intermingled. Adding to the immigrant population were massive waves of former slaves migrating from the South. In this radically multicultural environment, Irving Berlin, a Jewish- Russian immigrant, became a songwriter. The cultural interaction that had the most profound effect upon Berlin’s early songwriting from 1907 to 1914 was that between his own Jewish population and the African-American population in New York City. In his early songs, Berlin highlights both Jewish and African- American stereotypical identities. Examining stereotypical ethnic markers in Berlin’s early songs reveals how he first revised and then traded his old Jewish identity for a new American identity as the “King of Ragtime.” This document presents two case studies that explore how Berlin not only incorporated stereotypical musical and textual markers of “blackness” within two of his individual Jewish novelty songs, but also converted them later to genres termed “coon” and “ragtime,” which were associated with African Americans. -
Picaninny Caricature 8/1/14 10:46 AM
Picaninny Caricature 8/1/14 10:46 AM The Picaninny Caricature The picaninny 1 was the dominant racial caricature of black children for most of this country's history. They were "child coons," miniature versions of Stepin Fetchit (see Pilgrim (2000)). Picaninnies had bulging eyes, unkempt hair, red lips, and wide mouths into which they stuffed huge slices of watermelon. They were themselves tasty morsels for alligators. They were routinely shown on postcards, posters, and other ephemera being chased or eaten. Picaninnies were portrayed as nameless, shiftless natural buffoons running from alligators and toward fried chicken. The first famous picaninny was Topsy -- a poorly dressed, disreputable, neglected slave girl. Topsy appeared in Harriet Beecher Stowe's anti-slavery novel Uncle Tom's Cabin. Topsy was created to show the evils of slavery. Here was an untamable "wild child" who had been indelibly corrupted by slavery. She was one of the blackest of her race; and her round, shining eyes, glittering as glass beads, moved with quick and restless glances over everything in the room. Her mouth half open with astonishment at the wonders of the new Mas'r's parlor, displayed a white and brilliant set of teeth. Her woolly hair was braided in sundry little tails, which stuck out in every direction. The expression of her face was an odd mixture of shrewdness and cunning, over which was oddly drawn, like a veil, an expression of the most doleful gravity and solemnity. She was dressed in a sin- gle filthy, ragged garment, made of bagging; and stood with her hands demurely folded in front of her. -
Collection of Popular Music Folios
http://oac.cdlib.org/findaid/ark:/13030/tf658007b6 No online items Finding Aid for the Collection of Popular Music Folios Collection processed and machine-readable finding aid created by UCLA Performing Arts Special Collections staff. UCLA Library, Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm © 2002 The Regents of the University of California. All rights reserved. Note Arts and Humanities--Music Finding Aid for the Collection of 188 1 Popular Music Folios Finding Aid of the Collection of Popular Music Folios Collection number: 188 UCLA Library, Performing Arts Special Collections University of California, Los Angeles Los Angeles, CA Contact Information University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm Processed by: UCLA Performing Arts Special Collections staff Encoded by: Bryan Griest © 2002 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Collection of Popular Music Folios Collection number: 188 Extent: 165 boxes (82.5 linear ft.) Repository: University of California, Los Angeles. Library. Performing Arts Special Collections Los Angeles, California 90095-1575 Abstract: This collection consists of published compilations of music. Physical location: Stored off-site at SRLF. -
The Historical Continuity of White Control of Black America
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 2019 Workers, Athletes and Artists: The iH storical Continuity of White Control of Black America Courtney Walton Eastern Illinois University Recommended Citation Walton, Courtney, "Workers, Athletes and Artists: The iH storical Continuity of White Control of Black America" (2019). Masters Theses. 4568. https://thekeep.eiu.edu/theses/4568 This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. Workers, Athletes and Artists: The Historical Continuity of White Control of Black America (TITLE) BY Courtney Walton THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts in English IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS 2019 YEAR I HEREBY RECOMMEND THAT THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE Walton 1 Abstract From the early twentieth century to the early twenty-first century, black Americans have been subject to different forms of control. This subjection of blacks to societal demands arose in part because black people are viewed as inferior to white people. Because of this misconstrued perception, black people are forced to present an acceptable level of blackness to prevent punishment. Richard Wright's "The Ethics of Living Jim Crow: An Autobiographical Sketch" (1938), Zora Neale Hurston's "How It Feels to Be Colored Me" (1928), and Langston Hughes's "The Negro Artist and Racial Mountain" (1926) detail their lives at the tum of the twentieth century. -
The Nervous Tourist One American's Adventures Salvadorin , Bahia, Brazil
the nervous tourist one American's adventures Salvadorin , Bahia, brazil bob gaulke The Nervous Tourist One American’s Adventures in Salvador, Bahia, Brazil Bob Gaulke Future tense Books 2004 The Nervous Tourist: One American’s Adventures in Salvador, Bahia, Brazil 2004 Bob Gaulke and Future Tense Books Cover design by Joseph Lappie, Peptic Robot Press Layout by Black Giraffe Map used courtesy o f basicalingua.com 1st Printing (January 2004) ISBN 1-892061-22-8 All rights reserved. No part of this book may be reproduced in any form without the written consent of the publisher or author, with the exception of short excerpts in articles or reviews. Future Tense Books P.O. Box 42416 Portland, Oregon 97242 E-MAIL: [email protected] WEBSITE: www.futuretensebooks.com This book was made possible by a publisher’s fellowship from Oregon Literary Arts, Inc. INTRODUCTION I had to get out. I felt like I had a mental rash or something. My surroundings felt less than real, my life felt short of satisfy ing. I had spent most of my life in cold northern cities after grow ing up in a house half-full of Middle Eastern culture. Maybe there was something in my past that told me there were other places in the world where emotions counted for more. I heard what I needed in Brazilian music. I started listening to it incessantly. Why did so much good stuff come out of Salva dor? The sound of Portuguese started driving me crazy. I think I had an erection the first time I heard my Portuguese professor’s voice on my answering machine. -
The Myth of the Black Male Beast in Postclassical American Cinema: ‘Forging’ Stereoytpes and Discovering Black Masculinities
THE MYTH OF THE BLACK MALE BEAST IN POSTCLASSICAL AMERICAN CINEMA: ‘FORGING’ STEREOYTPES AND DISCOVERING BLACK MASCULINITIES BY MARTIN LUTHER PATRICK A thesis submitted to The University of Birmingham For the degree of M.Phil Department of American and Canadian Studies The University of Birmingham September 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Full name (surname first): Patrick, Martin Luther School/Department: Historical Studies/American and Canadian Studies Full title of thesis/dissertation: The myth of the Black male beast in postclassical American Cinema: ‘Forging’ stereotypes and discovering Black masculinities Degree: M.Phil. Date of submission: September 2009 Date of award of degree : December 2009 Abstract : The thesis examines how postclassical American film invent s Black male characters. It uses Levi-St rauss and B arthes’ methods of analyzing myth and critiques heg emonic authorship throug h Jung ’s work on archetypes in the collective unconscious and the ‘shadow’. Using Othello as a prototype character, I examine how he became an archetype that manifests two perceptions of B lack characters in the collective unconscious.