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THE CAPTIVE STAGE: PERFORMANCE AND THE PROSLAVERY By Jones Douglas A. Jr. *NEW* 2022, najnowsza praca

THE CAPTIVE STAGE: PERFORMANCE AND THE PROSLAVERY By Jones Douglas A. Jr. *NEW* 2022, najnowsza praca

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THE CAPTIVE STAGE: PERFORMANCE AND THE PROSLAVERY By Jones Douglas A. Jr. *NEW* 2022, najnowsza praca

241zł THE CAPTIVE STAGE: PERFORMANCE AND THE PROSLAVERY By Jones Douglas A. Jr. *NEW* | Books & Magazines, Textbooks, Education & Reference, Textbooks 2022, najnowsza praca Książki i czasopisma,Książki naukowe, fachowe i poradniki eyeluminousfacts.com cardiograph5s-xrz7uwg4z

THE CAPTIVE STAGE: PERFORMANCE AND THE PROSLAVERY By Jones Douglas A. Jr. *NEW* 2022, najnowsza praca

Parametry przedmiotu

Stan: Nowy: Nowa, nieczytana, nieużywana książka w idealnym stanie, wszystkie strony, bez uszkodzeń. Aby poznać ... Dowiedz się więcejo stanie przedmiotu ISBN-10: 0472072269
Book Title: The Captive Stage: Performance and the Proslavery Imagination of Genre: PERFORMING ARTS
Item Weight: 1.15 pounds ISBN: 9780472072262
EAN: 9780472072262 Series: Theater: Theory/Text/Performance Ser.
Publication Year: 2014 Type: Textbook
Format: Hardcover Language: English
Publication Name: Captive Stage : Performance and the Proslavery Imagination of the Antebellum North Item Height: 0.9in.
Author: Douglas A. Jones Item Length: 9in.
Publisher: University of Michigan Press Item Width: 6in.
Number of Pages: 232 Pages

O tym produkcie

Product Information
In The Captive Stage , Douglas A. Jones, Jr. argues that proslavery ideology remained the dominant mode of racial thought in the antebellum north, even though chattel slavery had virtually disappeared from the region by the turn of the nineteenth century--and that northerners cultivated their proslavery imagination most forcefully in their performance practices. Jones explores how multiple constituencies, ranging from early national artisans and Jacksonian wage laborers to patrician elites and bourgeois social reformers, used the stage to appropriate and refashion defenses of black bondage as means to affirm their varying and often conflicting economic, political, and social objectives. Joining performance studies with literary criticism and cultural theory, he uncovers the proslavery conceptions animating a wide array of performance texts and practices, such as the "Bobalition" series of broadsides, blackface minstrelsy, stagings of the American Revolution, reform melodrama, and abolitionist discourse. Taken together, he suggests, these works did not amount to a call for the re-enslavement of African Americans but, rather, justifications for everyday and state-sanctioned racial inequities in their post-slavery society. Throughout, The Captive Stage elucidates how the proslavery imagination of the free north emerged in direct opposition to the inclusionary claims black publics enacted in their own performance cultures. In doing so, the book offers fresh contexts and readings of several forms of black cultural production, including early black nationalist parades, slave dance, the historiography of the revolutionary era, the oratory of radical abolitionists and the black convention movement, and the autobiographical and dramatic work of ex-slave William Wells Brown.
Product Identifiers
PublisherUniversity of Michigan Press
ISBN-100472072269
ISBN-139780472072262
eBay Product ID (ePID)202780007
Product Key Features
AuthorDouglas A. Jones
Publication NameCaptive Stage : Performance and the Proslavery Imagination of the Antebellum North
FormatHardcover
LanguageEnglish
SeriesTheater: Theory/Text/Performance Ser.
Publication Year2014
TypeTextbook
Number of Pages232 Pages
Dimensions
Item Length9in.
Item Height0.9in.
Item Width6in.
Additional Product Features
Lc Classification NumberPn2270.A35j55 2014
Reviews"In The Captive Stage , Doug Jones offers an engaging, theoretically nuanced, and richly detailed historical study of antebellum performances by prominent artists and public intellectuals, including T.D. Rice, William Wells Brown, and Frederick Douglass. Closely reading plays and public lectures, he identifies the "proslavery imagination" of white northerners, a romantic racialist view of African Americans as being unworthy of (or not yet ready for) social equality, and chronicles the efforts of select black performers to challenge that worldview. His book meaningfully and significantly contributes to the study of nineteenth-century American culture as well as critical understandings of embodied black experience." --Harvey Young, Northwestern University, " The Captive Stage makes a substantive and exciting contribution to the growing body of literature examining performances of race, slavery, and citizenship in nineteenth-century American culture." --Heather Nathans, Tufts University, "In this original, vigorous, and deeply researched book, Douglas Jones offers a powerful new perspective on antebellum racial politics.  With devastating precision, Jones implicates the antebellum stage as a major site through which white Northerners-and, inadvertently, some African Americans-cultivated a proslavery imagination. Thus the book challenges scholarly conventions that locate proslavery ideology primarily below the Mason-Dixon Line or that consider performance mainly as a source of social transgression or political resistance.  Rich with archival discoveries as well as startling, de-familiarizing analyses of well-known texts, The Captive Stage signals the arrival of a major new voice in theatre history and critical race studies." -Robin Bernstein, Harvard University, "In this original, vigorous, and deeply researched book, Douglas Jones offers a powerful new perspective on antebellum racial politics. With devastating precision, Jones implicates the antebellum stage as a major site through which white Northerners--and, inadvertently, some African Americans--cultivated a proslavery imagination. Thus the book challenges scholarly conventions that locate proslavery ideology primarily below the Mason-Dixon Line or that consider performance mainly as a source of social transgression or political resistance. Rich with archival discoveries as well as startling, de-familiarizing analyses of well-known texts, The Captive Stage signals the arrival of a major new voice in theatre history and critical race studies." --Robin Bernstein, Harvard University, "In The Captive Stage , Doug Jones offers an engaging, theoretically nuanced, and richly detailed historical study of antebellum performances by prominent artists and public intellectuals, including T.D. Rice, William Wells Brown, and Frederick Douglass. Closely reading plays and public lectures, he identifies the "proslavery imagination" of white northerners, a romantic racialist view of African Americans as being unworthy of (or not yet ready for) social equality, and chronicles the efforts of select black performers to challenge that worldview. His book meaningfully and significantly contributes to the study of nineteenth-century American culture as well as critical understandings of embodied black experience." -Harvey Young, Northwestern University, " The Captive Stage makes a substantive and exciting contribution to the growing body of literature examining performances of race, slavery, and citizenship in nineteenth-century American culture." -Heather Nathans, Tufts University, "In this original, vigorous, and deeply researched book, Douglas Jones offers a powerful new perspective on antebellum racial politics.  With devastating precision, Jones implicates the antebellum stage as a major site through which white Northerners--and, inadvertently, some African Americans--cultivated a proslavery imagination. Thus the book challenges scholarly conventions that locate proslavery ideology primarily below the Mason-Dixon Line or that consider performance mainly as a source of social transgression or political resistance.  Rich with archival discoveries as well as startling, de-familiarizing analyses of well-known texts, The Captive Stage signals the arrival of a major new voice in theatre history and critical race studies." --Robin Bernstein, Harvard University
Copyright Date2014
Target AudienceScholarly & Professional
TopicUnited States / State & Local / General, American / African American, Theater / History & Criticism, Entertainment & Performing Arts, Anthropology / Cultural & Social, United States / General, Ethnic Studies / African American Studies
Lccn2014-003519
Dewey Decimal812/.3093552
Dewey Edition23
IllustratedYes
GenreBiography & Autobiography, Drama, History, Social Science, Performing Arts

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