Uncle Tom on the Ballet Stage: Italy's Barbarous America, 1850–1900 Author(s): By Axel Körner Reviewed work(s): Source: The Journal of Modern History, Vol. 83, No. 4 (December 2011), pp. 721-752 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/10.1086/662218 . Accessed: 16/05/2012 04:33 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Modern History. http://www.jstor.org Uncle Tom on the Ballet Stage: Italy’s Barbarous America, 1850–1900* Axel Körner University College London UNCLE TOM ON STAGE Giacomo Puccini’s Fanciulla del West (1908), which featured the Californian gold fever of 1849, and Giuseppe Verdi’s Un ballo in maschera (1859), set in seventeenth-century Boston, are today probably the most famous Italian representations of America on stage. Although very different in character, both operas present American life as a mixture of exoticism, vice, and violence, far from the idea of a society founded on the high principles of the European Enlightenment.1 But it is another stage work that arguably had a more lasting effect on how Italians discussed life in the United States.