Real Folks examines the construction of the folk in Depression-era U.S. politics and culture, as well as the hybrid forms of documentary and satire that critiqued the populist fixation on folk authenticity.
Real Folks examines the construction of the folk in Depression-era U.S. politics and culture, as well as the hybrid forms of documentary and satire that critiqued the populist fixation on folk authenticity.
Sonnet Retman is Associate Professor of African American Studies and Adjunct Associate Professor of Women’s Studies and English at the University of Washington.
Inhaltsangabe
Acknowledgments ix Introduction 1 Part I: The Folklore of Racial Capitalism 1. "A Combination Madhouse, Burlesque Show and Coney Island": The Color Question in George Schuyler's Black No More 33 2. "Inantimate Hideosities": The Burlesque of Racial Capitalism in Nathanael West's A Cool Million 72 Part II: Performing the Folk 3. "The Last American Frontier": Mapping the Folk in The Federal Writers' Project's Florida: A Guide to the Southernmost State 113 4. "Ah Gives Myself de Privilege to Go": Navigating the Field and the Folk in Zora Neale Hurston's Mules and Men 152 Part III: Populist Masquerade 5. "Am I Laughing?": Burlesque Incongruities of Genre, Gender, and Audience in Preston Sturges's Sullivan's Travels 191 Afterpiece: The Coen Brothers' Ol'-Timey Blues in O Brother, Where Art Thou? 240 Notes 251 Bibliography 287 Index 311
Acknowledgments ix Introduction 1 Part I: The Folklore of Racial Capitalism 1. "A Combination Madhouse, Burlesque Show and Coney Island": The Color Question in George Schuyler's Black No More 33 2. "Inantimate Hideosities": The Burlesque of Racial Capitalism in Nathanael West's A Cool Million 72 Part II: Performing the Folk 3. "The Last American Frontier": Mapping the Folk in The Federal Writers' Project's Florida: A Guide to the Southernmost State 113 4. "Ah Gives Myself de Privilege to Go": Navigating the Field and the Folk in Zora Neale Hurston's Mules and Men 152 Part III: Populist Masquerade 5. "Am I Laughing?": Burlesque Incongruities of Genre, Gender, and Audience in Preston Sturges's Sullivan's Travels 191 Afterpiece: The Coen Brothers' Ol'-Timey Blues in O Brother, Where Art Thou? 240 Notes 251 Bibliography 287 Index 311
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