Performing Menken uses the life experiences of controversial actress and poet Adah Isaacs Menken to examine the culture of the Civil War period and what Menken's choices reveal about her period. It explores the roots of the cult of celebrity that emerged from crucible of war. While discussing Menken's racial and ethnic claims and her performance of gender and sexuality, Performing Menken focuses on contemporary use of social categories to explain patterns in America's past and considers why such categories appear to remain important.

In the shadow of the Civil War, a circle of radicals in a rowdy saloon changed American society and helped set Walt Whitman on the path to poetic immortality. Rebel Souls is the first book ever written about the colorful group of artists- regulars at Pfaff's Saloon in Manhattan-rightly considered America's original Bohemians. Besides a young Whitman, the circle included actor Edwin Booth; trailblazing stand-up comic Artemus Ward; psychedelic drug pioneer and author Fitz Hugh Ludlow; and brazen performer Adah Menken, famous for her Naked Lady routine. Central to their times, the artists managed to forge connections with Ralph Waldo Emerson, Mark Twain, and even Abraham Lincoln. This vibrant tale, packed with original research, offers the pleasures of a great group biography like The Banquet Years or The Metaphysical Club. Justin Martin shows how this first bohemian culture-imported from Paris to a dingy Broadway saloon-seeded and nurtured an American tradition of rebel art that thrives to this day.

Counterculture, while commonly used to describe youth-oriented movements during the 1960s, refers to any attempt to challenge or change conventional values and practices or the dominant lifestyles of the day. This fascinating three-volume set explores these movements in America from colonial times to the present in colorful detail. "American Countercultures" is the first reference work to examine the impact of countercultural movements on American social history. It highlights the writings, recordings, and visual works produced by these movements to educate, inspire, and incite action in all eras of the nation's history. A-Z entries provide a wealth of information on personalities, places, events, concepts, beliefs, groups, and practices. The set includes numerous illustrations, a topic finder, primary source documents, a bibliography and a filmography, and an index.

The Costumes of Burlesque: 1866-2018 is the first volume to inclusively document burlesque costume from its birth in the 1860’s through the global burlesque movement in 2018. This lushly illustrated book presents the history and development of this American art form by documenting the origins, influencers, and genuine articles that created its aesthetic. Showcases of legendary performers, including Lydia Thompson, Gypsy Rose Lee, Sally Rand, Bettie Page, Kitten Natividad, and Dita Von Teese, demonstrate costume styles through the years. This guide gives readers a clear view of how burlesque costume looked and why. It teaches collectors, burlesque performers, and fans alike to recognize vintage pieces for what they are and to design their own costumes with inspiration from the originals. By including detailed costume documentation, over 400 images, and interviews with prominent costume designers such as Catherine D’Lish and Garo Sparo, The Costumes of Burlesque brings 150 years of burlesque costume history to life.

Robert Allen's compelling book examines burlesque not only as popular entertainment but also as a complex and transforming cultural phenomenon. When Lydia Thompson and her controversial female troupe of "British Blondes" brought modern burlesque to the United States in 1868, the result was electric. Their impertinent humor, streetwise manner, and provocative parodies of masculinity brought them enormous popular success--and the condemnation of critics, cultural commentators, and even women's rights campaigners. Burlesque was a cultural threat, Allen argues, because it inverted the "normal" world of middle-class social relations and transgressed norms of "proper" feminine behavior and appearance. Initially playing to respectable middle-class audiences, burlesque was quickly relegated to the shadow-world of working-class male leisure. In this process the burlesque performer "lost" her voice, as burlesque increasingly revolved around the display of her body. Locating burlesque within the context of both the social transformation of American theater and its patterns of gender representation, Allen concludes that burlesque represents a fascinating example of the potential transgressiveness of popular entertainment forms, as well as the strategies by which they have been contained and their threats defused.

Drawing on ethnographic research and often deeply personal experiences with musical cultures, Queering the Field: Sounding out Ethnomusicology unpacks a history of sentiment that veils the treatment of queer music and identity within the field of ethnomusicology. The thematic structure of the volume reflects a deliberate cartography of queer spaces in the discipline-spaces that are strongly present due to their absence, are marked by direct sonic parameters, or are called into question by virtue of their otherness. As the first large-scale study of ethnomusicology's queer silences and queer identity politics, Queering the Field directly addresses the normativities currently at play in musical ethnography (fieldwork, analysis, performance, transcription) as well as in the practice of musical ethnographers (identification, participation, disclosure, observation, authority). While rooted in strong narrative convictions, the authors frequently adopt radicalized voices with the goal of queering a hierarchical sexual binary. The essays in the volume present rhetorical and syntactical scenarios that challenge us to read in prescient singular ways for future queer writing and queer thought in ethnomusicology.

Performance and Evolution in the Age of Darwin reveals the ways in which the major themes of evolution were taken up in the performing arts during Darwin's adult lifetime and in the generation after his death. The period 1830-1900 was the formative period for evolutionary ideas. While scientists and theorists investigated the law and order of nature, show business was more concerned with what was out of the natural order. Missing links and throwbacks, freak taxonomies and exotic races were favourite subject matter for the burgeoning variety theatre movement. Focusing on popular theatre forms in London, New York and Paris, Jane Goodall shows how they were interwoven with the developing debate about human evolution. With this book, Goodall contributes an important new angle to the debates surrounding the history of evolution. She reveals that, far from creating widespread culture shock, Darwinian theory tapped into some of the long-standing themes of popular performance and was a source for diverse and sometimes hilarious explorations.

Rebirth of the English Comic Strip: A Kaleidoscope, 1847–1870 enters deep into an era of comic history that has been entirely neglected. This buried cache of mid-Victorian graphic humor is marvelously rich in pictorial narratives of all kinds. Author David Kunzle calls this period a “rebirth” because of the preceding long hiatus in use of the new genre, since the Great Age of Caricature (c.1780–c.1820) when the comic strip was practiced as a sideline. Suddenly in 1847, a new, post-Töpffer comic strip sparks to life in Britain, mostly in periodicals, and especially in Punch, where all the best artists of the period participated, if only sporadically: Richard Doyle, John Tenniel, John Leech, Charles Keene, and George Du Maurier. Until now, this aspect of the extensive oeuvre of the well-known masters of the new journal cartoon in Punch has been almost completely ignored. Exceptionally, George Cruikshank revived just once in The Bottle, independently, the whole serious, contrasting Hogarthian picture story. Numerous comic strips and picture stories appeared in periodicals other than Punch by artists who were likewise largely ignored. Like the Punch luminaries, they adopt in semirealistic style sociopolitical subject matter easily accessible to their (lower-)middle-class readership. The topics covered in and out of Punch by these strips and graphic novels range from French enemies King Louis-Philippe and Emperor Napoleon III to farcical treatment of major historical events: the Bayeux tapestry (1848), the Great Exhibition of 1851, and the Franco-Prussian War in 1870. Artists explore a great variety of social types, occupations, and situations such as the emigrant, the tourist, fox hunting and Indian big game hunting, dueling, the forlorn lover, the student, the artist, the toothache, the burglar, the paramilitary volunteer, Darwinian animal metamorphoses, and even nightmares. In Rebirth of the English Comic Strip, Kunzle analyzes these much-neglected works down to the precocious modernist and absurdist scribbles of Marie Duval, Europe’s first female professional cartoonist.

First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.