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This Feeling Tone: The Sound of Black and Jewish Collaboration 1981-2006
This Feeling Tone: The Sound of Black and Jewish Collaboration 1981-2006
This Feeling Tone: The Sound of Black and Jewish Collaboration 1981-2006

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자료유형  
 학위논문 서양
최종처리일시  
20250211151439
ISBN  
9798384449423
DDC  
820
저자명  
Ullman, Alexander.
서명/저자  
This Feeling Tone: The Sound of Black and Jewish Collaboration 1981-2006
발행사항  
[Sl] : University of California, Berkeley, 2024
발행사항  
Ann Arbor : ProQuest Dissertations & Theses, 2024
형태사항  
230 p
주기사항  
Source: Dissertations Abstracts International, Volume: 86-03, Section: A.
주기사항  
Advisor: Saul, Scott;McEnaney, Tom.
학위논문주기  
Thesis (Ph.D.)--University of California, Berkeley, 2024.
초록/해제  
요약"Are conversations pathways to the exchange of understandings?" asks poet Claudia Rankine in Just Us: An American Conversation (2020). Or, she wonders, "are conversations accommodations?" This Feeling Tone: The Sound of Black and Jewish Collaboration 1981- 2006, explores these questions by returning to a crucial nexus within American social and cultural history-Black and Jewish-American dialogue-and asking what we gain from actively listening to the voices at play in it.This Feeling Tone offers fresh interpretations of six key 20th-century American artists by listening closely to recorded conversations as well as their collaborative poetic and dramatic artworks. I pair them as follows: Audre Lorde and Adrienne Rich; Anna Deavere Smith and Studs Terkel; and George C. Wolfe and Tony Kushner. By employing interdisciplinary methods-prose description, melodic transcription, and close listening-I explore how sound is inscribed by complex and often unequal power relations. My approach-which crosses disciplines, fields, methodologies, and archives-aims to make such relations more perceptible.There's a common historical narrative about "Black-Jewish relations" in the twentieth century, one that suggests that these two identity groups emerged from World War II in a common civil rights coalition but then ended the century at odds. This Feeling Tone challenges this abstract narrative of declining relations with a material history of relationships between six artists/activists. I argue that Lorde and Rich forged a feminist counterpublic by negotiating the dynamics of race, gender, and sexuality during public performances of lyric poems. I suggest that Smith invented "headphone theater" by revising Studs Terkel's tape-recording technique for the stage. And I contend that, together, Tony Kushner and George C. Wolfe inflected Bertolt Brecht and Zora Neale Hurston's rhythmic aesthetics to redefine the "sung-through" musical for the postmodern era. By studying how these artists labored to confront ethnic, racialized, and gendered histories of sound, This Feeling Tone uncovers a radical and perilous history of collaboration - not as democratic safeguard but as embodied social practice.This Feeling Tone thus offers a more nuanced answer to Rankine's question: conversation is both a "pathway"-a means to move across a stage, a way of working through difficulty-and also an "accommodation": a room, a place, or a space where embodied voices haunt the walls of the house of difference.
일반주제명  
English literature
일반주제명  
Performing arts
일반주제명  
Aesthetics
일반주제명  
British & Irish literature
일반주제명  
Judaic studies
키워드  
Black studies
키워드  
Performance studies
키워드  
Sound studies
키워드  
Black-Jewish relations
기타저자  
University of California, Berkeley English
기본자료저록  
Dissertations Abstracts International. 86-03A.
전자적 위치 및 접속  
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MARC

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■500    ▼aSource:  Dissertations  Abstracts  International,  Volume:  86-03,  Section:  A.
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■5021  ▼aThesis  (Ph.D.)--University  of  California,  Berkeley,  2024.
■520    ▼a"Are  conversations  pathways  to  the  exchange  of  understandings?"  asks  poet  Claudia  Rankine  in  Just  Us:  An  American  Conversation  (2020).  Or,  she  wonders,  "are  conversations  accommodations?"  This  Feeling  Tone:  The  Sound  of  Black  and  Jewish  Collaboration  1981-  2006,  explores  these  questions  by  returning  to  a  crucial  nexus  within  American  social  and  cultural  history-Black  and  Jewish-American  dialogue-and  asking  what  we  gain  from  actively  listening  to  the  voices  at  play  in  it.This  Feeling  Tone  offers  fresh  interpretations  of  six  key  20th-century  American  artists  by  listening  closely  to  recorded  conversations  as  well  as  their  collaborative  poetic  and  dramatic  artworks.  I  pair  them  as  follows:  Audre  Lorde  and  Adrienne  Rich;  Anna  Deavere  Smith  and  Studs  Terkel;  and  George  C.  Wolfe  and  Tony  Kushner.  By  employing  interdisciplinary  methods-prose  description,  melodic  transcription,  and  close  listening-I  explore  how  sound  is  inscribed  by  complex  and  often  unequal  power  relations.  My  approach-which  crosses  disciplines,  fields,  methodologies,  and  archives-aims  to  make  such  relations  more  perceptible.There's  a  common  historical  narrative  about  "Black-Jewish  relations"  in  the  twentieth  century,  one  that  suggests  that  these  two  identity  groups  emerged  from  World  War  II  in  a  common  civil  rights  coalition  but  then  ended  the  century  at  odds.  This  Feeling  Tone  challenges  this  abstract  narrative  of  declining  relations  with  a  material  history  of  relationships  between  six  artists/activists.  I  argue  that  Lorde  and  Rich  forged  a  feminist  counterpublic  by  negotiating  the  dynamics  of  race,  gender,  and  sexuality  during  public  performances  of  lyric  poems.  I  suggest  that  Smith  invented  "headphone  theater"  by  revising  Studs  Terkel's  tape-recording  technique  for  the  stage.  And  I  contend  that,  together,  Tony  Kushner  and  George  C.  Wolfe  inflected  Bertolt  Brecht  and  Zora  Neale  Hurston's  rhythmic  aesthetics  to  redefine  the  "sung-through"  musical  for  the  postmodern  era.  By  studying  how  these  artists  labored  to  confront  ethnic,  racialized,  and  gendered  histories  of  sound,  This  Feeling  Tone  uncovers  a  radical  and  perilous  history  of  collaboration  -  not  as  democratic  safeguard  but  as  embodied  social  practice.This  Feeling  Tone  thus  offers  a  more  nuanced  answer  to  Rankine's  question:  conversation  is  both  a  "pathway"-a  means  to  move  across  a  stage,  a  way  of  working  through  difficulty-and  also  an  "accommodation":  a  room,  a  place,  or  a  space  where  embodied  voices  haunt  the  walls  of  the  house  of  difference.
■590    ▼aSchool  code:  0028.
■650  4▼aEnglish  literature
■650  4▼aPerforming  arts
■650  4▼aAesthetics
■650  4▼aBritish  &  Irish  literature
■650  4▼aJudaic  studies
■653    ▼aBlack  studies
■653    ▼aPerformance  studies
■653    ▼aSound  studies
■653    ▼aBlack-Jewish  relations
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■71020▼aUniversity  of  California,  Berkeley▼bEnglish.
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■792    ▼a2024
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■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17161744▼nKERIS▼z이  자료의  원문은  한국교육학술정보원에서  제공합니다.

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