Pioneer Performances draws from a diverse cast of relevant historical figures, ultimately revealing the frontier as a set of complex performative practices imbued with a sense of trenchant social critique.
Pioneer Performances draws from a diverse cast of relevant historical figures, ultimately revealing the frontier as a set of complex performative practices imbued with a sense of trenchant social critique.
Matthew Rebhorn is Associate Professor of English at James Madison University.
Inhaltsangabe
* Table of Contents * Introduction Manifest Destinies: Buffalo Bill, Gowongo Mohawk, and the Genealogy of American Frontier Performance * Chapter One: * Edwin Forrest's Redding Up: Elocution, Theater, and the Performance of the Frontier * Chapter Two: * The Swamp Aesthetic:James Kirke Paulding's Frontiersman and the American Melodrama of Wonder * Chapter Three: * The Burnt-Cork Pioneer: T. D. Rice and Minstrelsy's Frontier History * Chapter Four: * What Is It?: The Frontier, Melodrama, and Boucicault's Amalgamated Drama * Chapter Five: * The Great Divide: Pioneer Performances after the Civil War * Afterword * Bibliography
* Table of Contents * Introduction Manifest Destinies: Buffalo Bill, Gowongo Mohawk, and the Genealogy of American Frontier Performance * Chapter One: * Edwin Forrest's Redding Up: Elocution, Theater, and the Performance of the Frontier * Chapter Two: * The Swamp Aesthetic:James Kirke Paulding's Frontiersman and the American Melodrama of Wonder * Chapter Three: * The Burnt-Cork Pioneer: T. D. Rice and Minstrelsy's Frontier History * Chapter Four: * What Is It?: The Frontier, Melodrama, and Boucicault's Amalgamated Drama * Chapter Five: * The Great Divide: Pioneer Performances after the Civil War * Afterword * Bibliography
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