Rewriting the genealogy of minstrelsy for modernity: “Cry and sing, walk and rage, scream and dance” by Mendelssohn, M

“…This essay highlights the shared genealogy between early twentieth-century African American writing and two bifurcating branches of nineteenth-century dandyism: the European tradition of Baudelaire and Wilde and the blackface tradition of the minstrel show. Tracing these lines of transmission reveals an unexamined embranchment of literary modernity’s family tree and demonstrates how Du Bois’s novel repurposes this legacy for the twentieth century.…”

‘Lawdy! I was sho’ happy when I was a slave!’: Manipulative editing in the WPA former-slave narratives from Mississippi by Ellen Hampton

“…Editing occurred on both the state and federal level, apparently aimed both at mitigating the evils of slavery as an institution, and at reinforcing minstrel-show stereotypes of African-Americans as ignorant and colorful. …”
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Infants of the Spring (1932): Cutting across the Stage of Harlem’s Black Bohemia by Elisa Cecchinato

“…This article discusses how, using the metaphor of theater, and specifically the highly racially codified genre of the minstrel show, Infants of the Spring depicts male, Black, and queer identities in the modern urban landscape. …”
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Antiracism in Othello sketch comedy, 1967-1999 by Stephen Hamrick

“… Despite Shakespeare’s rejection of comic, racist stereotypes in Othello, minstrel shows offered racist blackface caricatures of slaves and others of African descent that filtered through British Music Hall and Variety to television sketch comedy. …”
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Blackfaced white: rasowe przypadki negatywu by Witold Kanicki

“…Painting one’s face black, in the 19th century used in evidently racist performances called “minstrel shows,” may now convey a positive message.…”
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The “Montage of Attractions” in T.S. Eliot’s The Waste Land by Olga I. Polovinkina

“…The term “music hall” in the article refers to a type of theater that was represented by the English music hall, the American minstrel shows, vaudeville and musical comedy of Eliot's youth, the Parisian variety theater which he came to know intimately in the early 1910s, and revue. …”
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