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Pp. 130-162, "Dramas Related to World War II, " discuss four plays dealing with confrontations between American Jews and Nazi sympathizers in America, or with antisemitism encountered by American Jews in Europe (and in the U.S. armed forces). The plays are "Margin for Error, " by Clare Boothe (1939); "Tomorrow the World, " by James Gow and Arnaud d'Usseau (1943); "Common Ground, " by Edward Chodorov (1945); and "Home of the Brave, " by Arthur Laurents (1945).
The turn of the nineteenth century in the United States saw the substantial influx of immigrants and a corresponding increase in anti-immigration and nativist tendencies among longer-settled Americans. Jewish immigrants were often the object of such animosity, being at once the object of admiration and anxiety for their perceived economic and social successes. One result was their frequent depiction in derogatory caricatures on the stage and in print. Smoothing the Jew investigates how Jewish artists of the time attempted to “smooth over” these demeaning portrayals by focusing on the first Jewish comic strip published in English, Harry Hershfield’s Abie the Agent. Jeffrey Marx demonstrates how Hershfield created a Jewish protagonist who in part reassured nativists of the Jews’ ability to assimilate into American society while also encouraging immigrants and their children that, over time, they would be able to adopt American customs without losing their distinctly Jewish identity.
"There is more to Irish than St. Patrick's Day and Guinness. The word Irish conjures an array of images, each with a long history. Who defined Irish? In the twentieth century Ireland, the United States, and Irish America were all invested in representation. Exerting or losing control of an ethnic image had ramifications on both sides of the Atlantic"--
Abstracts of dissertations and monographs in microform.
'Street Scenes' focuses on the intersection of modern city life and stage performance. From street life and slumming to vaudeville and early cinema, to Yiddish theatre and blackface comedy, Romeyn discloses racial comedy, passing, and masquerade as gestures of cultural translation.
Yiddish melodramas about the tribulations of immigration. German plays about alpine tourism. Italian vaudeville performances. Rubbernecking tours of Chinatown. In the New York City of the late nineteenth and early twentieth centuries, these seemingly disparate leisure activities played similar roles: mediating the vast cultural, demographic, and social changes that were sweeping the nation's largest city. In The Immigrant Scene, Sabine Haenni reveals how theaters in New York created ethnic entertainment that shaped the culture of the United States in the early twentieth century. Considering the relationship between leisure and mass culture, The Immigrant Scene develops a new picture of the metropolis in which the movement of people, objects, and images on-screen and in the street helped residents negotiate the complexities of modern times. In analyzing how communities engaged with immigrant theaters and the nascent film culture in New York City, Haenni traces the ways in which performance and cinema provided virtual mobility--ways of navigating the socially complex metropolis--and influenced national ideas of immigration, culture, and diversity in surprising and lasting ways.