Real Folks Race and Genre in the Great Depression
During the Great Depression, people from across the political spectrum sought to ground American identity in the rural know-how of "the folk." At the same time, certain writers, filmmakers, and intellectuals combined documentary and satire into a hybrid genre that revealed the folk as an a...
| Otros Autores: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
[s.l.] :
Duke University Press
2011.
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| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009720236206719 |
Tabla de Contenidos:
- Frontmatter
- Contents
- Acknowledgments
- Introduction
- Part I: the folklore of racial capitalism
- Introduction
- 1. ''A Combination Madhouse, Burlesque Show and Coney Island'': The Color Question in George Schuyler's Black No More
- 2. ''Inanimate Hideosities'': The Burlesque of Racial Capitalism in Nathanael West's A Cool Million
- Part II: performing the folk
- Introduction
- 3. ''The Last American Frontier'': Mapping the Folk in the Federal Writers' Project's Florida: A Guide to the Southernmost State
- 4. ''Ah Gives Myself de Privilege to Go'': Navigating the Field and the Folk in Zora Neale Hurston's Mules and Men
- Part III: populist masquerade
- Introduction
- 5. ''Am I Laughing?'': Burlesque Incongruities of Genre, Gender, and Audience in Preston Sturges's Sullivan's Travels
- Afterpiece: The Coen Brothers' Ol'-Timey Blues in O Brother, Where Art Thou?
- Notes
- Bibliography
- Index
