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William J. Mahar's unprecedented archival study of playbills, newspapers, sketches, ...
William J. Mahar's unprecedented archival study of playbills, newspapers, sketches, monologues, and music engages new sources previously not considered in twentieth-century scholarship. More than any other study of its kind, Behind the Burnt Cork Mask investigates the relationships between blackface comedy and other Western genres and traditions; between the music of minstrel shows and its European sources; and between "popular" and "elite" constructions of culture.
By locating minstrel performances within their complex sites of production, Mahar offers a significant reassessment of the historiography of the field. Behind the Burnt Cork Mask promises to redefine the study of blackface minstrelsy, charting new directions for future inquiries by scholars in American studies, popular culture, and musicology.
|List of Musical Examples|
|1||Revisiting Minstrelsy's History: The Playbill and Contextual Evidence||9|
|2||Blackface Parodies of American Speech and Rhetoric: Burlesque Lectures and Sermons, Political Orations, Comic Dialogues, and Stories||59|
|3||Opera for the Masses: Burlesques of English and Italian Opera||101|
|4||Ethiopian Sketches of American Life: Skits, Farces, and Afterpieces||157|
|5||Blackface Minstrelsy, Masculinity, and Social Rituals in Vocal and Choral Repertories||195|
|6||Blackface Minstrelsy and Misogyny in Vocal and Choral Repertories||268|
|App. A||Representative Minstrel Companies and Personnel in Playbills and Newspaper Advertisements, 1843-60||355|
|App. B||Representative Concluding Numbers from Selected Minstrel Shows, 1843-60||364|
|App. C||Song Text Frequency in Selected Antebellum Songsters||367|