Souvenir Program


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The New York Tercentenary


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New Historical Literary Study


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This volume, growing out of the celebrated turn toward history in literary criticism, showcases some of the best new historical work being done today in textual theory, literary history, and cultural criticism. The collection brings together for the first time key representativesfrom various schools of historicist scholarship, including leading critics whose work has helped define new historicism. The essays illuminate literary periods ranging from Anglo-Saxon to postmodern, a variety of literary texts that includes The Siege of Thebes, Macbeth, The Jazz Singer, and The Chosen Place, the Timeless People, and central issues that have marked new historicism: power, ideology, textuality, othering, marginality, exile, and liberation. The contributors are Janet Aikins, Lawrence Buell, Ralph Cohen, Margaret Ezell, Stephen Greenblatt, Terence Hoagwood, Jerome McGann, Robert Newman, Katherine O'Keeffe, Lee Patterson, Michael Rogin, Edward Said, and Hortense Spillers. The editors' introduction situates the various essays within contemporary criticism and explores the multiple, contestatory issues at stake within the historicist enterprise.




New York City Vaudeville


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New York City Vaudeville provides a unique pictorial record of Americas preeminent entertainment medium in the late 1800s through the early 1930s. New Yorks Palace Theatre served as the flagship for vaudeville, on which stage every vaudevillian aspired to perform. New York City Vaudeville features photographs of some of the greatest names from the Palace Theatre, including Jack Benny, George Burns and Gracie Allen, Anna Held, the Marx Brothers, and Eva Tanguay, as well as legendary African American performers such as Bill Robinson, Ethel Waters, and Bert Williams. Through the photographs and the capsule biographies, the reader is transported back to a time when vaudeville was the peoples entertainment, with a new bill of fare each week and an ever-changing number of performers with ever-changing styles of presentation.







New York Star


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Modern Bodies


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In 1930, dancer and choreographer Martha Graham proclaimed the arrival of "dance as an art of and from America." Dancers such as Doris Humphrey, Ted Shawn, Katherine Dunham, and Helen Tamiris joined Graham in creating a new form of dance, and, like other modernists, they experimented with and argued over their aesthetic innovations, to which they assigned great meaning. Their innovations, however, went beyond aesthetics. While modern dancers devised new ways of moving bodies in accordance with many modernist principles, their artistry was indelibly shaped by their place in society. Modern dance was distinct from other artistic genres in terms of the people it attracted: white women (many of whom were Jewish), gay men, and African American men and women. Women held leading roles in the development of modern dance on stage and off; gay men recast the effeminacy often associated with dance into a hardened, heroic, American athleticism; and African Americans contributed elements of social, African, and Caribbean dance, even as their undervalued role defined the limits of modern dancers' communal visions. Through their art, modern dancers challenged conventional roles and images of gender, sexuality, race, class, and regionalism with a view of American democracy that was confrontational and participatory, authorial and populist. Modern Bodies exposes the social dynamics that shaped American modernism and moved modern dance to the edges of society, a place both provocative and perilous.




Doing the Town


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Tourists and travelers in the early nineteenth century saw American cities as ugly spaces, lacking the art and history that attracted thousands to the great cities of Europe. By the turn of the century, however, city touring became popular in the United States, and the era saw the rise of elegant hotels, packaged tours, and train travel to cities for vacations that would entertain and edify. This fascinating cultural history, studded with vivid details bringing the experience of Victorian-era travel alive, explores the beginnings of urban tourism, and sets the phenomenon within a larger cultural transformation that encompassed fundamental changes in urban life and national identity. Focusing mainly on New York, San Francisco, Washington, D.C., and Chicago, Catherine Cocks describes what it was like to ride on Pullman cars, stay in the grand hotels, and take in the sights of the cities. Her evocative narrative draws on innovative readings of sources such as guidebooks, travel accounts, tourist magazines, and the journalism of the era. Exploring the full cultural context in which city touring became popular, Cocks ties together many themes in urban and cultural history for the first time, such as the relationships among class, gender, leisure, and the uses and perceptions of urban space. Offering especially lively reading, Doing the Town provides a memorable journey into the experience of the new urban tourist at the same time as it makes a sophisticated contribution to our understanding of the urban and cultural development of the United States.




Bazaars and Fair Ladies


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Tracing their development from the early 1800s to the present day, Gordon shows how women's fairs have reflected and influenced American culture, including styles of display and presentation, forms of public entertainment, attitudes about consumption and commodities, and perceptions of other cultures and of the past.