Frankie and Johnny : Race, Gender, and African American Folklore - Stacey Morgan

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Última actualización el 27 jul 2025 22:12:22 H.EspVer todas las actualizacionesVer todas las actualizaciones

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“Clean unmarked pages, tight spine, minimal wear to covers and edges, NOT ex-library.Ships well ...
ISBN
9781477312087
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Product Identifiers

Publisher
University of Texas Press
ISBN-10
1477312080
ISBN-13
9781477312087
eBay Product ID (ePID)
229087737

Product Key Features

Number of Pages
272 Pages
Language
English
Publication Name
Frankie and Johnny : Race, Gender, and the Work of African American Folklore in 1930s America
Publication Year
2017
Subject
United States / 20th Century, Folklore & Mythology, Ethnic Studies / African American Studies
Type
Textbook
Author
Stacy I. Morgan
Subject Area
Social Science, History
Format
Trade Paperback

Dimensions

Item Height
0.9 in
Item Weight
14.5 Oz
Item Length
9.3 in
Item Width
6.1 in

Additional Product Features

Intended Audience
Scholarly & Professional
LCCN
2016-035709
Dewey Edition
23
Reviews
A well-researched analysis of the complex intersections between African American culture and folklore and mainstream popular music and film culture of the 1930s., [A] masterpiece... Frankie and Johnny showcases the talents of performers, entertainers, composers, and artists while simultaneously telegraphing the tormented rawness of unrequited fidelity...Morgan's tireless, copious research yields rich rewards, allowing the reader an emotionally vicarious experience of a 'somebody done somebody wrong' theme., Morgan's brilliant examination of race and gender in creative appropriations of the 'Frankie and Johnny' ballad furthers the discourse on how African American folk culture contributed to the unique characteristics of American modernism during the 1930s.
Illustrated
Yes
Dewey Decimal
398.2089/96073
Table Of Content
Acknowledgments Chapter 1. Frankie and Johnny Take Center Stage: African American Folk Culture in 1930s America Chapter 2. Lead Belly's Ninth Symphony: Huddie Ledbetter and the Changing Contours of American Folk Music Chapter 3. Pistol Packin' Mama: Imperiled Masculinity in Thomas Hart Benton's A Social History of the State of Missouri Chapter 4. Whiteface Marionettes: John Huston's Comic Melodrama Chapter 5. The Finest Woman Ever to Walk the Streets: Mae West's Outlaw Exploits in She Done Him Wrong Chapter 6. The Lynching of Johnny: Sterling Brown's Social Realist Critique Epilogue. African American Women's Voices and the Tightrope of Respectability Notes Index
Synopsis
With chapters on Lead Belly, Thomas Hart Benton, John Huston, Mae West, and Sterling Brown, this innovative book presents a new argument for the centrality of African American folklore as a source of cultural expression in the 1930s., Originating in a homicide in St. Louis in 1899, the ballad of "Frankie and Johnny" became one of America's most familiar songs during the first half of the twentieth century. It crossed lines of race, class, and artistic genres, taking form in such varied expressions as a folk song performed by Huddie Ledbetter (Lead Belly); a ballet choreographed by Ruth Page and Bentley Stone under New Deal sponsorship; a mural in the Missouri State Capitol by Thomas Hart Benton; a play by John Huston; a motion picture, She Done Him Wrong , that made Mae West a national celebrity; and an anti-lynching poem by Sterling Brown. In this innovative book, Stacy I. Morgan explores why African American folklore--and "Frankie and Johnny" in particular--became prized source material for artists of diverse political and aesthetic sensibilities. He looks at a confluence of factors, including the Harlem Renaissance, the Great Depression, and resurgent nationalism, that led those creators to engage with this ubiquitous song. Morgan's research uncovers the wide range of work that artists called upon African American folklore to perform in the 1930s, as it alternately reinforced and challenged norms of race, gender, and appropriate subjects for artistic expression. He demonstrates that the folklorists and creative artists of that generation forged a new national culture in which African American folk songs featured centrally not only in folk and popular culture but in the fine arts as well., Winner, Wayland D. Hand Prize, American Folklore Society, 2018 Originating in a homicide in St. Louis in 1899, the ballad of "Frankie and Johnny" became one of America's most familiar songs during the first half of the twentieth century. It crossed lines of race, class, and artistic genres, taking form in such varied expressions as a folk song performed by Huddie Ledbetter (Lead Belly); a ballet choreographed by Ruth Page and Bentley Stone under New Deal sponsorship; a mural in the Missouri State Capitol by Thomas Hart Benton; a play by John Huston; a motion picture, She Done Him Wrong , that made Mae West a national celebrity; and an anti-lynching poem by Sterling Brown. In this innovative book, Stacy I. Morgan explores why African American folklore--and "Frankie and Johnny" in particular--became prized source material for artists of diverse political and aesthetic sensibilities. He looks at a confluence of factors, including the Harlem Renaissance, the Great Depression, and resurgent nationalism, that led those creators to engage with this ubiquitous song. Morgan's research uncovers the wide range of work that artists called upon African American folklore to perform in the 1930s, as it alternately reinforced and challenged norms of race, gender, and appropriate subjects for artistic expression. He demonstrates that the folklorists and creative artists of that generation forged a new national culture in which African American folk songs featured centrally not only in folk and popular culture but in the fine arts as well.
LC Classification Number
GR111.A47M67 2017

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