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001			205287
003			IT-RoAPU
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006			m|||||o||d||||||||
007			cr || ||||||||
008			210830t19991999nju fo d z eng d
020			_a9780691004747 _qprint
020			_a9781400823215 _qPDF
024	7		_a10.1515/9781400823215 _2doi
035			_a(DE-B1597)9781400823215
035			_a(DE-B1597)446163
035			_a(OCoLC)979685416
040			_aDE-B1597 _beng _cDE-B1597 _erda
050		4	_aML3556.C78 1999
072		7	_aSOC002000 _2bisacsh
082	0	4	_a782.25308996073
084			_aonline - DeGruyter
100	1		_aCruz, Jon _eautore
245	1	0	_aCulture on the Margins : _bThe Black Spiritual and the Rise of American Cultural Interpretation / _cJon Cruz.
250			_aCore Textbook
264		1	_aPrinceton, NJ : _bPrinceton University Press, _c[1999]
264		4	_c©1999
300			_a1 online resource (280 p.)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tCONTENTS -- _tACKNOWLEDGMENTS -- _tINTRODUCTION -- _tONE. The Conundrum of Authenticity -- _tTWO. Sound Barriers and Sound Management -- _tTHREE. From Objects to Subjects -- _tFOUR. From Authentic Subjects to Authentic Culture -- _tFIVE. From Testimonies to Artifacts -- _tSIX. Institutionalizing Ethnosympathy -- _tSEVEN. Conclusion -- _tEPILOGUE -- _tNotes -- _tBIBLIOGRAPHY -- _tSUBJECT INDEX -- _tSONGS CITED INDEX
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aIn Culture on the Margins, Jon Cruz recounts the "discovery" of black music by white elites in the nineteenth century, boldly revealing how the episode shaped modern approaches to studying racial and ethnic cultures. Slave owners had long heard black song making as meaningless "noise." Abolitionists began to attribute social and political meaning to the music, inspired, as many were, by Frederick Douglass's invitation to hear slaves' songs as testimonies to their inner, subjective worlds. This interpretive shift--which Cruz calls "ethnosympathy"--marks the beginning of a mainstream American interest in the country's cultural margins. In tracing the emergence of a new interpretive framework for black music, Cruz shows how the concept of "cultural authenticity" is constantly redefined by critics for a variety of purposes--from easing anxieties arising from contested social relations to furthering debates about modern ethics and egalitarianism. In focusing on the spiritual aspect of black music, abolitionists, for example, pivoted toward an idealized religious singing subject at the expense of absorbing the more socially and politically elaborate issues presented in the slave narratives and other black writings. By the end of the century, Cruz maintains, modern social science also annexed much of this cultural turn. The result was a fully modern tension-ridden interest in culture on the racial margins of American society that has long had the effect of divorcing black culture from politics.
530			_aIssued also in print.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 30. Aug 2021)
650		0	_aAfrican Americans _vMusic _xSocial aspects.
650		0	_aAfrican Americans _xMusic _xSocial aspects.
650		0	_aCulture _xResearch _xHistory _xUnited States _xUSA _xSchwarze.
650		0	_aCulture _xResearch _zUnited States _xHistory.
650		0	_aSpirituals (Songs) _xSocial aspects.
650		7	_aSOCIAL SCIENCE / Anthropology / General. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.1515/9781400823215
856	4	0	_uhttps://www.degruyter.com/isbn/9781400823215
856	4	2	_3Cover _uhttps://www.degruyter.com/cover/covers/9781400823215.jpg
942			_cEB
999			_c205287 _d205287