William J Mahar
Biographic Data
| ID | 680502 |
|---|---|
| NAME | William J Mahar |
| GIVEN NAMES | William J |
| FAMILY NAME | Mahar |
| SIGNATURE | MAHAR W J |
| AFFILIATIONS | Pennsylvania Department of Transportation |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 14 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1985 |
| LATEST PUBLICATION YEAR | 2012 |
| H-INDEX | 2 |
Whiting Up: Whiteface Minstrels and Stage Europeans in African American Performance
This study of whiteface minstrelsy and the performers (the stage Europeans in the title) who appropriated “white dramatic characters crafted initially by white dramatists and, later, by black playwrights” explores the careers and contributions of African American actors, singers, dancers, comedians, playwrights, and performers in many media who challenged American cultural stereotypes in theater and popular entertainment from the eighteenth throu…
Emmett [Emmit], Dan(iel Decatur)
Inside the Minstrel Mask: Readings in Nineteenth-Century Blackface Minstrelsy
Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture
Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture
Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture
Journal Article Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture. By William J. Mahar. (Urbana: University of Illinois Press, 1999. xxii, 444 pp. Cloth, $60.00, ISBN 0-252-02396-X. Paper, $24.95, ISBN 0-252-06696-0.) Get access Bruce McConachie Bruce McConachie University of Pittsburgh, Pittsburgh, Pennsylvania Search for other works by this author on: Oxford Academic Google Scholar Journal of America…
America's Minstrel Daze
"Backside Albany" and Early Blackface Minstrelsy: A Contextual Study of America's First Blackface Song
Blackface minstrelsy has often been described as America's unique contribution to the comic theater. From the first organized minstrel company performance in 1843 to the fund-raising entertainments used by churches and social organizations into the 1950s, burnt cork comedy survived by adapting itself to the ever-changing tastes of its audience. There are, however, relatively few studies of minstrelsy's audience, and most investigations of the pre…
Black English in Early Blackface Minstrelsy: A New Interpretation of the Sources of Minstrel Show Dialect
MANY EARLY BLACKFACE ENTERTAINERS CLAIMED THAT THEY BORROWED THEIR comic material from black stevedores, preachers, laborers, or ex-slaves. Edwin P. Christy, for example, boasted that he had acquired his superior knowledge of the negro characteristics, traits, humor, and melody which his observant genius has since turned to such golden account while employed as a ropewalk supervisor in New Orleans. Ben Cotton recalled how he had studied the vocal…
Black English in Early Blackface Minstrelsy: A New Interpretation of the Sources of Minstrel Show Dialect
MANY EARLY BLACKFACE ENTERTAINERS CLAIMED THAT THEY BORROWED THEIR comic material from black stevedores, preachers, laborers, or ex-slaves. Edwin P. Christy, for example, boasted that he had acquired his superior knowledge of the negro characteristics, traits, humor, and melody which his observant genius has since turned to such golden account while employed as a ropewalk supervisor in New Orleans. Ben Cotton recalled how he had studied the vocal…
Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture
Whiting Up: Whiteface Minstrels and Stage Europeans in African American Performance
This study of whiteface minstrelsy and the performers (the stage Europeans in the title) who appropriated “white dramatic characters crafted initially by white dramatists and, later, by black playwrights” explores the careers and contributions of African American actors, singers, dancers, comedians, playwrights, and performers in many media who challenged American cultural stereotypes in theater and popular entertainment from the eighteenth throu…
Black English in Early Blackface Minstrelsy: A New Interpretation of the Sources of Minstrel Show Dialect
MANY EARLY BLACKFACE ENTERTAINERS CLAIMED THAT THEY BORROWED THEIR comic material from black stevedores, preachers, laborers, or ex-slaves. Edwin P. Christy, for example, boasted that he had acquired his superior knowledge of the negro characteristics, traits, humor, and melody which his observant genius has since turned to such golden account while employed as a ropewalk supervisor in New Orleans. Ben Cotton recalled how he had studied the vocal…
"Backside Albany" and Early Blackface Minstrelsy: A Contextual Study of America's First Blackface Song
Blackface minstrelsy has often been described as America's unique contribution to the comic theater. From the first organized minstrel company performance in 1843 to the fund-raising entertainments used by churches and social organizations into the 1950s, burnt cork comedy survived by adapting itself to the ever-changing tastes of its audience. There are, however, relatively few studies of minstrelsy's audience, and most investigations of the pre…
America's Minstrel Daze
Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture
Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture
Journal Article Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture. By William J. Mahar. (Urbana: University of Illinois Press, 1999. xxii, 444 pp. Cloth, $60.00, ISBN 0-252-02396-X. Paper, $24.95, ISBN 0-252-06696-0.) Get access Bruce McConachie Bruce McConachie University of Pittsburgh, Pittsburgh, Pennsylvania Search for other works by this author on: Oxford Academic Google Scholar Journal of America…
Emmett [Emmit], Dan(iel Decatur)
Inside the Minstrel Mask: Readings in Nineteenth-Century Blackface Minstrelsy
Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture
Whiting Up: Whiteface Minstrels and Stage Europeans in African American Performance
This study of whiteface minstrelsy and the performers (the stage Europeans in the title) who appropriated “white dramatic characters crafted initially by white dramatists and, later, by black playwrights” explores the careers and contributions of African American actors, singers, dancers, comedians, playwrights, and performers in many media who challenged American cultural stereotypes in theater and popular entertainment from the eighteenth throu…
Art (8 works) · Art history (6 works) · Blackface (6 works) · History (6 works) · History (5 works) · Cork (3 works) · Cultural History and Identity Formation (3 works) · Historical Gender and Feminism Studies (3 works) · Political science (3 works) · Theater, Performance, and Music History (3 works)