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Performing Identity in the Age of Imposture: Articulations of Sexual Difference in U.S.-American Music and Mass Entertainment, 1865-1900
Performing Identity in the Age of Imposture: Articulations of Sexual Difference in U.S.-American Music and Mass Entertainment, 1865-1900
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20250211151421
- ISBN
- 9798382601328
- DDC
- 780
- 저자명
- Ace, James R.
- 서명/저자
- Performing Identity in the Age of Imposture: Articulations of Sexual Difference in U.S.-American Music and Mass Entertainment, 1865-1900
- 발행사항
- [Sl] : University of California, Los Angeles, 2024
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2024
- 형태사항
- 250 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 85-11, Section: A.
- 주기사항
- Advisor: Morris, Mitchell Bryan.
- 학위논문주기
- Thesis (Ph.D.)--University of California, Los Angeles, 2024.
- 초록/해제
- 요약The late nineteenth century saw the publication of the first medical texts in western Europe that defined a condition known as inversion-a concept that set the precedent for modern categories such as homosexual and transgender. However, prior to their official medicalization, ideas about race, sex, and sexuality that informed twentieth-century identity constructions were already circulating in mass culture and musical entertainment. This dissertation investigates musical, sonic, and performative means through which gendered and sexual difference were articulated in nineteenth-century U.S.-American culture. I argue that musical and theatrical performance are not merely sites where identities are represented; rather, performance plays a key role in the formation and maintenance of those identities.Chapter 1 deals with staged impersonation-encompassing racial and ethnic impersonation, as well as female and male impersonation in which both actors and characters are white. By contextualizing impersonation within a) a broader cultural zeitgeist of illusion, hoaxing, and curiosity, b) contemporary racial ideologies, and c) contemporary journalism about cross-dressing people off the stage, I argue that this genre instructed audiences to understand cross-dressing, passing, or otherwise gender nonconforming people to be impersonating something they were not. Chapter 2 examines a repertoire of popular songs that depict Oscar Wilde and the aesthetic movement. Through practice-based musical performance and analysis of physical gestures, I argue that these songs articulated ideas about Wilde's sexual otherness that could not be expressed in print. Chapter 3 looks at the writings and musicking of an individual, Ralph Werther-Jennie June, who identified h/imself as an androgyne, or fairie. I explore musical and performative means through which Werther-June articulates h/is experience of sexual difference, and also navigates through states of extreme abjection. I conclude with a discussion of Todd Haynes' 1998 film, Velvet Goldmine, which demonstrates the persisting centrality of performative tropes and techniques such as innuendo, camp, and impersonation to queer expression, representation, and reception in U.S.-American culture-and displays the tendency of prevailing queer narratives to be about both white people and imposture, despite those narratives being built upon racialized rubrics, and cultural work done by people of color.
- 일반주제명
- Music history
- 일반주제명
- LGBTQ studies
- 일반주제명
- American history
- 일반주제명
- Music
- 일반주제명
- African American studies
- 키워드
- American culture
- 키워드
- Mass culture
- 기타저자
- University of California, Los Angeles Musicology 0604
- 기본자료저록
- Dissertations Abstracts International. 85-11A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■00520250211151421
■006m o d
■007cr#unu||||||||
■020 ▼a9798382601328
■035 ▼a(MiAaPQ)AAI31294248
■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a780
■1001 ▼aAce, James R.
■24510▼aPerforming Identity in the Age of Imposture: Articulations of Sexual Difference in U.S.-American Music and Mass Entertainment, 1865-1900
■260 ▼a[Sl]▼bUniversity of California, Los Angeles▼c2024
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2024
■300 ▼a250 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 85-11, Section: A.
■500 ▼aAdvisor: Morris, Mitchell Bryan.
■5021 ▼aThesis (Ph.D.)--University of California, Los Angeles, 2024.
■520 ▼aThe late nineteenth century saw the publication of the first medical texts in western Europe that defined a condition known as inversion-a concept that set the precedent for modern categories such as homosexual and transgender. However, prior to their official medicalization, ideas about race, sex, and sexuality that informed twentieth-century identity constructions were already circulating in mass culture and musical entertainment. This dissertation investigates musical, sonic, and performative means through which gendered and sexual difference were articulated in nineteenth-century U.S.-American culture. I argue that musical and theatrical performance are not merely sites where identities are represented; rather, performance plays a key role in the formation and maintenance of those identities.Chapter 1 deals with staged impersonation-encompassing racial and ethnic impersonation, as well as female and male impersonation in which both actors and characters are white. By contextualizing impersonation within a) a broader cultural zeitgeist of illusion, hoaxing, and curiosity, b) contemporary racial ideologies, and c) contemporary journalism about cross-dressing people off the stage, I argue that this genre instructed audiences to understand cross-dressing, passing, or otherwise gender nonconforming people to be impersonating something they were not. Chapter 2 examines a repertoire of popular songs that depict Oscar Wilde and the aesthetic movement. Through practice-based musical performance and analysis of physical gestures, I argue that these songs articulated ideas about Wilde's sexual otherness that could not be expressed in print. Chapter 3 looks at the writings and musicking of an individual, Ralph Werther-Jennie June, who identified h/imself as an androgyne, or fairie. I explore musical and performative means through which Werther-June articulates h/is experience of sexual difference, and also navigates through states of extreme abjection. I conclude with a discussion of Todd Haynes' 1998 film, Velvet Goldmine, which demonstrates the persisting centrality of performative tropes and techniques such as innuendo, camp, and impersonation to queer expression, representation, and reception in U.S.-American culture-and displays the tendency of prevailing queer narratives to be about both white people and imposture, despite those narratives being built upon racialized rubrics, and cultural work done by people of color.
■590 ▼aSchool code: 0031.
■650 4▼aMusic history
■650 4▼aLGBTQ studies
■650 4▼aAmerican history
■650 4▼aMusic
■650 4▼aAfrican American studies
■653 ▼aPerforming identity
■653 ▼aSexual difference
■653 ▼aAmerican culture
■653 ▼aMass culture
■690 ▼a0208
■690 ▼a0492
■690 ▼a0337
■690 ▼a0413
■690 ▼a0296
■71020▼aUniversity of California, Los Angeles▼bMusicology 0604.
■7730 ▼tDissertations Abstracts International▼g85-11A.
■790 ▼a0031
■791 ▼aPh.D.
■792 ▼a2024
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17161617▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
