Details
The Revolutionary Rhetoric of Hamilton
|
44,99 € |
|
| Verlag: | Lexington Books |
| Format: | EPUB |
| Veröffentl.: | 09.09.2022 |
| ISBN/EAN: | 9781666914450 |
| Sprache: | englisch |
| Anzahl Seiten: | 236 |
DRM-geschütztes eBook, Sie benötigen z.B. Adobe Digital Editions und eine Adobe ID zum Lesen.
Beschreibungen
<p><span>This scholarly exploration of </span><span>Hamilton</span><span> encourages audiences to interpret this popular culture force in a new way by revealing that the musical confronts conventional perceptions of American history, racial equity, and political power. Contributors explore the ways in which the musical offers social commentary on issues such as immigration and gender equity, as well as how </span><span>Hamilton</span><span> re-considers the roles of theatre in making social statements, especially relating to the narrator, the curtain speech, and musical traditions. Several chapters directly address recent controversies and conversations surrounding </span><span>Hamilton, </span><span>including the #CancelHamilton trend on social media, the musical's depiction of slavery, and its intersections with the Black Lives Matter movement. Employing multiple novel theoretical approaches and perspectives—including public memory, feminist rhetorical criticism, disability studies, and sound studies— </span><span>The Revolutionary Rhetoric of Hamilton</span><span> reveals new insights about this beloved show for scholars of theatre studies, media studies, communication studies, and fans alike.</span></p>
<p></p>
<p></p>
<p><span>The Revolutionary Rhetoric of </span><span>Hamilton</span><span> </span><span>explores how the musical confronts conventional conceptions of American history, racial equity, and political power. Scholars of theatre studies, media studies, and communication studies will find this book particularly useful.</span></p>
<p></p>
<p></p>
<p><span>Contents</span></p>
<p></p>
<p><span>Acknowledgments</span></p>
<p><span>Introduction: Turning the World Upside Down </span></p>
<p><span>Nancy J. Legge, Jacob Justice, and Luke Winslow</span></p>
<p></p>
<p><span>Section I: Revelations About History</span></p>
<ol start="1">
<li><span>“If You Had to Choose”: </span><span>Hamilton</span><span>, Public Memory, and the Hamilton-Jefferson Rivalry</span></li>
</ol>
<p><span>Talya Peri Slaw and Jacob Justice</span></p>
<ol start="2">
<li><span>Washington Says Good-bye: Examining ‘One Last Time’ through Public Memory</span></li>
</ol>
<p><span>Jessica L. Gehrke</span></p>
<ol start="3">
<li><span>The Rhetorical Significance of John Laurens in </span><span>Hamilton: An American Musical</span></li>
</ol>
<p><span>Nancy J. Legge</span></p>
<ol start="4">
<li><span>Da Da Dada Da: The Discourse of the Mad Monarch</span></li>
</ol>
<p><span>Sarah Mayberry Scott</span></p>
<p></p>
<p><span>Section II: Revelations About Race</span></p>
<p><span>5Casting as a Rhetorical Act: Color-Purposeful Casting and Hamilton’s Anti-White </span></p>
<p><span>Casting Call</span></p>
<p><span>Ailea G. Merriam-Pigg</span></p>
<p><span>6</span><span>Hamilton’s</span><span> Revolutionary Aesthetic: Race, Hip hop, and the American Style</span></p>
<p><span>Luke Winslow and Jonathan Veal</span></p>
<p><span>7</span><span>Hamilton, </span><span>Social Revolution, and the Black Lives Matter Movement</span></p>
<p><span>Caleb George Hubbard </span></p>
<p></p>
<p><span>Section III: Revelations About Socio-Political Issues</span></p>
<p><span>8Immigrants: Getting the Job Done Then and Now</span></p>
<p><span>Judith P. Roberts</span></p>
<p><span>9The Sphere Where it Happens: Reading </span><span>Hamilton</span><span>’s Representations of the Public/Private </span></p>
<p><span>Sphere as Gendered, Restraining, and Revolutionary</span></p>
<p><span>Erika M. Thomas </span></p>
<p></p>
<p><span>Section IV: Revelations About Broadway</span></p>
<p><span>10Who Lives, Who Dies, Who Tells the Story: Hip-Hope, Antagonist-Narrators, and the </span></p>
<p><span>Impact of Musical Genre on Storytelling</span></p>
<p><span>Max Dosser and Kevin Pabst </span></p>
<p><span>11Aaron Burr vs. Mike Pence: Curtain Speeches and Controversy</span></p>
<p><span>Ryan Louis </span></p>
<p><span>12Hamilton and the Genre of the Politicized Broadway Musical: Following the Rhetorical Tradition, Twisting the Rhetorical Tradition</span></p>
<p><span>Theodore F. Sheckels </span></p>
<p><span>Index</span></p>
<p><span>About the Authors </span></p>
<p><span> </span></p>
<p><span> </span></p>
<p></p>
<p></p>
<p><span>Acknowledgments</span></p>
<p><span>Introduction: Turning the World Upside Down </span></p>
<p><span>Nancy J. Legge, Jacob Justice, and Luke Winslow</span></p>
<p></p>
<p><span>Section I: Revelations About History</span></p>
<ol start="1">
<li><span>“If You Had to Choose”: </span><span>Hamilton</span><span>, Public Memory, and the Hamilton-Jefferson Rivalry</span></li>
</ol>
<p><span>Talya Peri Slaw and Jacob Justice</span></p>
<ol start="2">
<li><span>Washington Says Good-bye: Examining ‘One Last Time’ through Public Memory</span></li>
</ol>
<p><span>Jessica L. Gehrke</span></p>
<ol start="3">
<li><span>The Rhetorical Significance of John Laurens in </span><span>Hamilton: An American Musical</span></li>
</ol>
<p><span>Nancy J. Legge</span></p>
<ol start="4">
<li><span>Da Da Dada Da: The Discourse of the Mad Monarch</span></li>
</ol>
<p><span>Sarah Mayberry Scott</span></p>
<p></p>
<p><span>Section II: Revelations About Race</span></p>
<p><span>5Casting as a Rhetorical Act: Color-Purposeful Casting and Hamilton’s Anti-White </span></p>
<p><span>Casting Call</span></p>
<p><span>Ailea G. Merriam-Pigg</span></p>
<p><span>6</span><span>Hamilton’s</span><span> Revolutionary Aesthetic: Race, Hip hop, and the American Style</span></p>
<p><span>Luke Winslow and Jonathan Veal</span></p>
<p><span>7</span><span>Hamilton, </span><span>Social Revolution, and the Black Lives Matter Movement</span></p>
<p><span>Caleb George Hubbard </span></p>
<p></p>
<p><span>Section III: Revelations About Socio-Political Issues</span></p>
<p><span>8Immigrants: Getting the Job Done Then and Now</span></p>
<p><span>Judith P. Roberts</span></p>
<p><span>9The Sphere Where it Happens: Reading </span><span>Hamilton</span><span>’s Representations of the Public/Private </span></p>
<p><span>Sphere as Gendered, Restraining, and Revolutionary</span></p>
<p><span>Erika M. Thomas </span></p>
<p></p>
<p><span>Section IV: Revelations About Broadway</span></p>
<p><span>10Who Lives, Who Dies, Who Tells the Story: Hip-Hope, Antagonist-Narrators, and the </span></p>
<p><span>Impact of Musical Genre on Storytelling</span></p>
<p><span>Max Dosser and Kevin Pabst </span></p>
<p><span>11Aaron Burr vs. Mike Pence: Curtain Speeches and Controversy</span></p>
<p><span>Ryan Louis </span></p>
<p><span>12Hamilton and the Genre of the Politicized Broadway Musical: Following the Rhetorical Tradition, Twisting the Rhetorical Tradition</span></p>
<p><span>Theodore F. Sheckels </span></p>
<p><span>Index</span></p>
<p><span>About the Authors </span></p>
<p><span> </span></p>
<p><span> </span></p>
<p></p>
<p><span>Luke Winslow</span><span> is assistant professor of rhetorical studies in the Department of Communication at Baylor University.</span></p>
<p><span>Nancy J. Legge </span><span>is professor in the Department of Communication, Media, and Persuasion at Idaho State University.</span></p>
<p><span>Jacob Justice</span><span> is assistant professor of speech communication and the director of forensics in the Department of Writing and Rhetoric at the University of Mississippi.</span></p>
<p><span>Nancy J. Legge </span><span>is professor in the Department of Communication, Media, and Persuasion at Idaho State University.</span></p>
<p><span>Jacob Justice</span><span> is assistant professor of speech communication and the director of forensics in the Department of Writing and Rhetoric at the University of Mississippi.</span></p>
Diese Produkte könnten Sie auch interessieren:
Topos Österreich | Topos Austria
von: Franz-Josef Deiters, Axel Fliethmann, Alison Lewis, Cat Moir, Christiane Weller
49,00 €
