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Musicals, it is often said, burst into song and dance when mere words can no longer convey the emotion. This book argues that musicals burst into song and dance when one body can no longer convey the emotion. Rogers shows how the musical’s episodes of burlesque and minstrelsy model the kinds of radical relationships that the genre works to create across the different bodies of its performers, spectators, and creators every time the musical bursts into song. These radical relationships—borne of the musical’s obsessions with “bad” performances of gender and race—are the root of the genre’s progressive play with identity, and thus the source of its subcultural power. However, this leads to an ethical dilemma: Are the musical’s progressive politics thus rooted in its embrace of regressive entertainments like burlesque and minstrelsy? The Song Is You shows how musicals return again and again to this question, and grapple with a guilt that its joyous pleasures are based on exploiting the laboring bodies of its performers. Rogers argues that the discourse of “integration”—which claims that songs should advance the plot—has functioned to deny the radical work that the musical undertakes every time it transitions into song and dance. Looking at musicals from The Black Crook to Hamilton, Rogers confronts the gendered and racial dynamics that have always under-girded the genre, and asks how we move forward.
This interdisciplinary anthology explores the representation of everyday life across several disciplines in a century known for its interest in individual experience of the mundane as well as the heroic. Comprised of essays by established and emerging scholars of literature, art, and music history, the volume explores not merely the range of performances under the banner of the everyday, but also the meanings inherent in these attempts to create art out of the experience of the real. In this collection, the authors attempt to provide a wide-ranging picture of the many ways in which the notion of the everyday is a valuable conceptual frame through which the eighteenth century may be apprehended, as this critical term allows for issues of gender, race, and class to come into focus. Alden Cavanaugh is Associate Professor of Art History at Indiana State University.
Historical Dictionary of Rococo Art covers all aspects of Rococo art history through a chronology, an introductory essay, a review of the literature, an extensive bibliography, and over 350 cross-referenced dictionary entries on prominent Rococo painters, sculptors, decorative artists, architects, patrons, theorists, and critics, as well as major centers of artistic production. This book is an excellent access point for students, researchers, and anyone wanting to know more about Rococo art.
What do The Family Circus, Ziggy, and The Far Side have in common? They are all single-panel comics, a seemingly simple form that cartoonists have used in vastly different ways. Singular Sensations is the first book-length critical study to examine this important but long neglected mode of cartoon art. Michelle Ann Abate provides an overview of how the American single-panel comic evolved, starting with Thomas Nast’s political cartoons and R.F. Outcault’s ground-breaking Yellow Kid series in the nineteenth century. In subsequent chapters, she explores everything from wry New Yorker cartoons to zany twenty-first-century comics like Bizarro. Offering an important corrective to the canonical definition of comics as “sequential art,” Abate reveals the complexity, artistry, and influence of the single panel art form. Engaging with a wide range of historical time periods, socio-political subjects, and aesthetic styles, Singular Sensations demonstrates how comics as we know and love them would not be the same without single-panel titles. Abate’s book brings the single-panel comic out of the margins and into the foreground.
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