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Sound travels: Performing diaspora a...

Brown University.

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Sound travels: Performing diaspora and the imagined American South.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Sound travels: Performing diaspora and the imagined American South./
作者:	McGinley, Paige A.
面頁冊數:	242 p.
附註:	Adviser: Rebecca Schneider.
Contained By:	Dissertation Abstracts International69-06A.
標題:	American Studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3319110
ISBN:	9780549689805

Sound travels: Performing diaspora and the imagined American South.
McGinley, Paige A.

Sound travels: Performing diaspora and the imagined American South. - 242 p.

Adviser: Rebecca Schneider.

Thesis (Ph.D.)--Brown University, 2008.

This dissertation investigates four "sound travels," four performances in and of circulation that make visible and audible the "shadow texts" of diaspora and displacement that haunt the mythologies of the American open road: Gertrude Stein and Virgil Thomson's 1934 black-cast opera Four Saints in Three Acts, the song-collecting travels of documentarians John and Alan Lomax, contemporary "blues tourism" in the Mississippi Delta, and commemorations of the largely African American diaspora that followed Hurricane Katrina. My study is not a comprehensive account of musics of the black diaspora but rather an investigation of how black diaspora has been used as a performance trope that is represented and reinvented to stand in for other modes of travel. I pose a set of questions about migration, travel, and representation: Why and how do various artists employ the performance tropes of migration and diaspora? How do performances of black migration create and contest mythologies of the American open road? How are silenced and forgotten histories of internal migration articulated, spoken, sung, in contemporary performances of blues travel?

ISBN: 9780549689805Subjects--Topical Terms:

1017604
American Studies.

Sound travels: Performing diaspora and the imagined American South.
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520 $a This dissertation investigates four "sound travels," four performances in and of circulation that make visible and audible the "shadow texts" of diaspora and displacement that haunt the mythologies of the American open road: Gertrude Stein and Virgil Thomson's 1934 black-cast opera Four Saints in Three Acts, the song-collecting travels of documentarians John and Alan Lomax, contemporary "blues tourism" in the Mississippi Delta, and commemorations of the largely African American diaspora that followed Hurricane Katrina. My study is not a comprehensive account of musics of the black diaspora but rather an investigation of how black diaspora has been used as a performance trope that is represented and reinvented to stand in for other modes of travel. I pose a set of questions about migration, travel, and representation: Why and how do various artists employ the performance tropes of migration and diaspora? How do performances of black migration create and contest mythologies of the American open road? How are silenced and forgotten histories of internal migration articulated, spoken, sung, in contemporary performances of blues travel?
520 $a Many of the performances I examine here idealize or aestheticize mobility while forgetting or suppressing the forced mobilizations that haunt their routes. In doing so, the performances and the performers frequently enact a slippage between different "ways of being out of place"---tourism, diaspora, refugee travel, and expatriate travel, to name a few. By employing diaspora as a trope by which to represent tourism, expatriation, or documentary travel, many of the performers I examine here elide the material, social, and political conditions that produce and enable different kinds of mobility. These uneasy equations between diaspora and more privileged modes of travel are frequently characterized and embodied by the performers' cross-racial identifications. I examine Stein's identification with African Americans as a means to articulate her own marginalized religious and sexual identities, the Lomaxes' embrace of Jewish diaspora as a trope for narrating their own travels, the white blues tourist's reenactment of the Great Migration, and, finally, performances that respond to the equation of displacement with disappearance that was made after Hurricane Katrina.
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