In this incisive critique of the ways performances of allyship can further entrench white privilege, author Carrie J. Preston analyses her own complicit participation and that of other audience members and theater professionals.
In this incisive critique of the ways performances of allyship can further entrench white privilege, author Carrie J. Preston analyses her own complicit participation and that of other audience members and theater professionals.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Carrie J. Preston is the Arvind and Chandan Nandlal Kilachand Professor and Director of Kilachand Honors College, Professor of English and Women's, Gender, & Sexuality Studies, and the founding Associate Director of the Center on Forced Displacement at Boston University. She is the author of Modernism's Mythic Pose: Gender, Genre, & Solo Performance and Learning to Kneel: Noh, Modernism, & Journeys in Teaching.
Inhaltsangabe
* Part I The Troubling Pleasures of Complicit Participation * Introduction * Chapter 1: Blackfaced at The Blacks: Complicit Participation in Jean Genet's Lessons on Race * Part II The Melodramatics of American Racism * Chapter 2: Dion Boucicault's The Octoroon and the Loudly Immersed Audiences of Nineteenth-Century Melodramas * Chapter 3: Hissing, Bidding, and Lynching at Branden Jacobs-Jenkins's An Octoroon * Part III Dueling on Broadway * Chapter 4: Shuffle Along . . . the Campaign Trail * Chapter 5: Hamilton ParticiNation in Diversity and Its Discontents * Part IV Act II or Just Another Talkback? * Chapter 6: Doing Time in Anna Deavere Smith's Act II * Chapter 7: Playing The White Card with Claudia Rankine * Coda
* Part I The Troubling Pleasures of Complicit Participation * Introduction * Chapter 1: Blackfaced at The Blacks: Complicit Participation in Jean Genet's Lessons on Race * Part II The Melodramatics of American Racism * Chapter 2: Dion Boucicault's The Octoroon and the Loudly Immersed Audiences of Nineteenth-Century Melodramas * Chapter 3: Hissing, Bidding, and Lynching at Branden Jacobs-Jenkins's An Octoroon * Part III Dueling on Broadway * Chapter 4: Shuffle Along . . . the Campaign Trail * Chapter 5: Hamilton ParticiNation in Diversity and Its Discontents * Part IV Act II or Just Another Talkback? * Chapter 6: Doing Time in Anna Deavere Smith's Act II * Chapter 7: Playing The White Card with Claudia Rankine * Coda
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