维多利亚时代客厅里的奴隶制:菲利普·克里茨的“黑脸”民谣

IF 0.2 3区 历史学 Q2 HISTORY
Roger Hansford
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引用次数: 0

摘要

1847年,南安普顿的菲利普·克里茨(1805-1854)在一场文化热潮中加入了两首“黑脸”民谣,反映了当年美国白人吟游团“埃塞俄比亚小夜曲”及其模仿者“埃塞俄比亚Harmonists”在英国的巡演。我展示了克里茨和他的作曲家同伴们是如何反映并助长了一种强有力的刻板印象,他们在资产阶级家庭中流传的歌曲,通过在流行文化想象中维持种族主义主题和形象,对英国人对非裔美国人的看法产生了不利影响。尽管对当时英国的黑人居民和游客产生了负面影响,但吟游诗人也被广泛认为在整个19世纪产生了相当大的文化影响。在对维多利亚时代艺术如何构建种族的研究中,很少有人给予音乐的重要性,它解释了黑人漫画是如何通过维多利亚时代客厅民谣中的音乐和音乐东方主义在废奴后的英国背景下发挥作用的。这个案例研究以前被忽视的音乐曲目详细介绍了“黑脸”吟诗人历史上的一个重要插曲,展示了19世纪40年代末在英国国内形成的种族态度是如何受到战前美国流行舞台的影响的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Sounding Slavery in the Victorian Drawing Room: The ‘Blackface’ Ballads of Philip Klitz
Abstract In 1847, Southampton’s Philip Klitz (1805–1854) added two ‘blackface’ ballads to a cultural craze reflecting that year’s British tour by the white American minstrel troupe, the ‘Ethiopian Serenaders’, and their imitators, the ‘Ethiopian Harmonists’. I show how Klitz and his fellow composers reflected and fed a potent stereotype, circulating songs in the bourgeois home that adversely affected the British perception of African Americans by sustaining racist themes and images in the popular-cultural imagination. Notwithstanding the negative impacts for black residents and visitors in Britain at the time, minstrelsy is also widely understood to have exerted considerable cultural influence throughout the nineteenth century. Among investigations of how the Victorian arts constructed race, few give music the significance it holds in this interpretation of how black caricature functioned in a post-abolition British context through the medium of music and musical orientalism in Victorian drawing-room ballads. This case study of previously neglected musical repertoire details an important episode in the history of ‘blackface’ minstrelsy, showing how racial attitudes formed within British domestic spaces during the late 1840s were affected by those of the popular stage in ante-bellum America.
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CiteScore
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