Jonathan Wipplinger
Biographic Data
| ID | 1285721 |
|---|---|
| NAME | Jonathan Wipplinger |
| GIVEN NAMES | Jonathan |
| FAMILY NAME | Wipplinger |
| SIGNATURE | WIPPLINGER J |
| AFFILIATIONS | College of the Holy Cross |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 0 |
A People’s Music
With more than 100 years of development to look back on—outside, but also inside the German-speaking world—jazz continues to incite scholarly investigation as one of the most important musical, political and cultural expressions of the twentieth century. Helma Kaldewey’s A People’s Music builds on this long tradition to offer a sweeping, yet detail-rich overview of the cultural politics of jazz in German Democratic Republic (GDR). While A People’…
The Jazz Republic
This project has accompanied me now for more than ten years and across four institutions.Over this period, I have had more opportunities than I can recount to converse with scholars and colleagues about the subject of jazz music and popular culture in Germany during the 1920s.Their cumulative effect has helped shape The Jazz Republic.Even more so, without the collective
Germany, 1923
Germany, 1923:Alain Locke, Claude McKay, and the New Negro in Germany Jonathan Wipplinger (bio) To write history means giving dates their physiognomy. —Walter Benjamin, The Arcades Project In late 1923, as the Germany currency lay in ruins and resistance to the French occupation of the Rhineland and Ruhr continued, two African Americans met for the first time: Alain Locke and Claude McKay. During this, the initial encounter of what would become a…
The Racial Ruse
This article explores the role of blackface minstrelsy within German culture at the turn of the twentieth century. I argue that blackface's presence in the colonial and global world of the fin de siècle had the effect of forcing a reevaluation and reinterpretation of the very notion of what it meant to be German in modernity. I trace the construction of blackface as a racial ruse within a discursive nexus of psychology, comic theory, and mass cul…
The Aural Shock of Modernity
This author considers the 1925 Berlin performances of the African American jazz band of Sam Wooding and the impression left by it on German audiences and critics. To explain the distinctive qualities ascribed to Wooding's jazz within German discourse and to explore the broader function of German jazz interest, the author develops the concept of aural shock drawing on both Adorno and Benjamin. He argues that jazz music and the German experience of…
No prominent works on this page.
The Aural Shock of Modernity
This author considers the 1925 Berlin performances of the African American jazz band of Sam Wooding and the impression left by it on German audiences and critics. To explain the distinctive qualities ascribed to Wooding's jazz within German discourse and to explore the broader function of German jazz interest, the author develops the concept of aural shock drawing on both Adorno and Benjamin. He argues that jazz music and the German experience of…
The Racial Ruse
This article explores the role of blackface minstrelsy within German culture at the turn of the twentieth century. I argue that blackface's presence in the colonial and global world of the fin de siècle had the effect of forcing a reevaluation and reinterpretation of the very notion of what it meant to be German in modernity. I trace the construction of blackface as a racial ruse within a discursive nexus of psychology, comic theory, and mass cul…
Germany, 1923
Germany, 1923:Alain Locke, Claude McKay, and the New Negro in Germany Jonathan Wipplinger (bio) To write history means giving dates their physiognomy. —Walter Benjamin, The Arcades Project In late 1923, as the Germany currency lay in ruins and resistance to the French occupation of the Rhineland and Ruhr continued, two African Americans met for the first time: Alain Locke and Claude McKay. During this, the initial encounter of what would become a…
The Jazz Republic
This project has accompanied me now for more than ten years and across four institutions.Over this period, I have had more opportunities than I can recount to converse with scholars and colleagues about the subject of jazz music and popular culture in Germany during the 1920s.Their cumulative effect has helped shape The Jazz Republic.Even more so, without the collective
A People’s Music
With more than 100 years of development to look back on—outside, but also inside the German-speaking world—jazz continues to incite scholarly investigation as one of the most important musical, political and cultural expressions of the twentieth century. Helma Kaldewey’s A People’s Music builds on this long tradition to offer a sweeping, yet detail-rich overview of the cultural politics of jazz in German Democratic Republic (GDR). While A People’…
Art history (4 works) · German (4 works) · Aesthetics (3 works) · Art (3 works) · German Colonialism and Identity Studies (3 works) · History (3 works) · Jazz (3 works) · Linguistics (3 works) · Literature (3 works) · Philosophy (3 works)