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Elizabeth drorbaugh dissertation


elizabeth drorbaugh dissertation

would aim to overcome. Gay Unhappy is illustrated with an artists lurid purple and black rendering of an African American man wearing a suit and hat and carrying a saxophone peering furtively out of a closet door (Gavin 67). Fighting Homophobia, 2001: Straight Odyssey At several historical moments, people have spoken out about jazz as a homophobic workplaceand, of course, I agree that it is important to expose and fight homophobia wherever it exists. Making Heteronormativity Sexy: Jazz in the 1920s According to Katzs timeline of heterosexual history, the period known as the Jazz Age marks the shift when erotic heterosexual desire loses the stigma of perversion and takes center stage as the new straight norm.

It is propelled and extended by common sense. Yet, Smith did not invent the heterosexual norm of male instrumentalists and female vocalists, or the sexual orientation of bands in which the vocalist is not presumed to be just another player, but a sexual object. Flies at a bit of an angle, scanning the horizon for queer instances in which jazz appears to go straight, when people go straight to jazz, or when jazz gets called upon to represent straightness. Midway through his number he lifts his skirt and shows some leg, slides to the floor in the splits and provocatively bounces up and down to the beat, rises once again and smiles and dances through the end of the tune.

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In her reading of marriage manuals, Julian Carter argues that erotically charged marriage was constructed as inseparable from American citizenship in the 1920s and 1930s (14). In December 2001, JazzTimes published James Gavins article on homophobia in jazz in its Family Life Sex issue. Hazel Carby, Angela Davis, Biman Basu, and Farah Jasmine Griffin have all written about the conundrum of respectability politics in denying black womens sexual subjectivity. The canonfor Sales, and for many other adherents to the dominant jazz discourseis a straight line. The articles themselves are more nuanced than the layout. I am going for queer here, Q with. Queer recognition cannot directly counteract homophobia and exclusion if it obeys a framework that constructs homosexuality (positively or negatively) as particular and different, and heterosexuality as simply presumed. There is some exciting work already and more emerging that is historically meticulous in this regardDavid Hajdus Lush Life on Billy Strayhorn is an excellent example of a jazz biography that opens doors to understanding how one out gay black man negotiated his professional, social. On this straight line, men play instruments, women sing. In 1957, Norman Mailer released his essay, The White Negro, in which he identified a new, more expressive, more alive kind of white masculinity that could be achieved through engagement with black models of masculinity and culture, particularly jazz.

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