Song Character Analysis Worksheet - The University of North ...

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“Declaration of Sentiments and Resolutions” challenged the hegemonic status quo in demanding equal property rights for married women, voting rights for all women, equal standards of sexual behavior, and equal leadership roles in churches. 18 Young women began participating in intellectual inquiry through female higher education in the mid nineteenth century and soon joined together as societies to fight these inequalities. Kerber and DeHart outlined the purposes of these early feminist groups as 1) to have an understanding of the economic and social relationships that benefit one gender at the expense of another; 2) to develop a language to critique hierarchal relationships and to articulate an alternate vision; and 3) to forge the group solidarity necessary to realize this vision. 19 This was the beginning of feminine empowerment as a reaction to the effects of an industrialized society on women and the lessons learned in the cult of domesticity. The male response to the “Woman Question” was based upon stereotypes of sexuality rather than the social and economic contexts. Harriet Anderson addressed the opposition to the feminist movement by three separate groups in fin-de-siècle Vienna that has parallels in American society. Karl Leuger, leader of the political conservatives, argued that the female was “oversexed” and had been corrupted by men of inferior races [or classes]. The artisans proposed that bourgeois women were jealous of sexually free women (prostitutes). They argued that the natural female role in culture could only be as muse or object for the artist; they also declared that the woman’s movement was responsible for the rejection of femininity in society. Scientists regarded the feminists as 18 Kerber and DeHart, 488. Stanton’s manifesto was presented at the Seneca Falls Convention, which is considered the inception of the American women’s movement. It was convened to discuss the social, civil, and religious conditions of women as well as their legal rights. Shapiro, 7. 19 Kerber and DeHart, 488. 41
dominated by masculine traits in appearance and intellect, and actually labeled them as a third gender, or hermaphrodites. Sigmund Freud’s theories are rather ambiguous regard- ing outspoken women. He attributed their masculine behavior to arrested development and jealousy in the phallic stage, and he established a close connection between Frauen- rechtlerin (women’s righters) and lesbianism. In the seismic study of sexuality and its influences on character development in both genders, Geschlecht und Charakter (Sex and Character), medical doctor Otto Weininger wrote, “The female will always remain incap- able of real emancipation for this is the preserve of the masculine. The ultimate enemy of women’s emancipation is woman.” 20 Francis Parkman articulated an American male view of the suffragist movement by commenting on the “more delicate” physical and mental constitution of the female; while men were “made for conflict,” women possess “moral elevation.” This was a typical prejudicial response rather than action taken on the relevant issues. 21 Weininger’s study is also significant for female stereotypes as he postulated an original system of “characterology.” This crystallized the general characteristics of the ideal woman (“W”) as “two elemental figures, the Courtesan and the Mother.” 22 This duality within woman became a prominent theme for feminist opponents as well as 20 Utopian Feminism: Women’s Movements in fin-de-siècle Vienna (New Haven, CT: Yale University Press, 1992), 3-4. The American version of Sex and Character (New York: A. L. Burt) was published in 1906 after the sixth German edition, originally published in 1903. Its amazing influence on gender thought has continued through multiple revisions and reprints, including a new edition introduced in 2005 (Indiana University Press). A female rebuttal, Zur Kritik der Weiblichkeit (1905), was quickly published by Dr. Rosa Mayreder and translated into English: A Survey of the Woman Problem, trans. Herman Scheffauer (London: W. Heinemann, 1913). 21 “The Woman Question,” North American Review 129 (1879): 304-08; quoted in Shapiro, 10. 22 Sex and Character, 258. Chapter Six is devoted to the “Emancipated Woman” and her masculine qualities. 42
Page 1 and 2: LEWIS, ANNE, D.M.A. An Examination
Page 3 and 4: APPROVAL PAGE This dissertation has
Page 5 and 6: TABLE OF CONTENTS iv Page ACKNOWLED
Page 7 and 8: for research, this paper will explo
Page 9 and 10: MacDonald, labeled musical theatre
Page 11 and 12: The musicals that have entered the
Page 13 and 14: and individually as handwriting.”
Page 15 and 16: Methodology The base of research fo
Page 17 and 18: Feminine Character in Selected Libr
Page 19 and 20: from the 1920s, they are timeless i
Page 21 and 22: e helpful to recognize the specific
Page 23 and 24: as a Cinderella-type heiress who ma
Page 25 and 26: Vereen described the “blackface c
Page 27 and 28: Casino Theatre in Manhattan. The re
Page 29 and 30: functional sets, and an eleven-piec
Page 31 and 32: The History of the Musical, Show Bo
Page 33 and 34: amount of instrumental music, the d
Page 35 and 36: Ferber’s novel begins with the na
Page 37 and 38: Act II begins four years later as G
Page 39 and 40: CHAPTER III SOCIETAL STEREOTYPES OF
Page 41 and 42: communion.” 5 This bias continued
Page 43 and 44: children, however, did allow mother
Page 45: unhealthy, sub-human environments.
Page 49 and 50: magazines, including Ladies Home Jo
Page 51 and 52: Nineteenth Century Stereotypes of W
Page 53 and 54: usiness. She was responsible for th
Page 55 and 56: gender) inequality forced them inst
Page 57 and 58: The 1920s was the Jazz Age, a time
Page 59 and 60: CHAPTER IV THEATRICAL STEREOTYPES O
Page 61 and 62: peoples . . . to save us from our o
Page 63 and 64: separate seating arrangements). The
Page 65 and 66: Feminine Aesthetic in Theatre Any a
Page 67 and 68: gossip columns. 17 Exploitation on
Page 69 and 70: means to economic or career advance
Page 71 and 72: Florenz Ziegfeld, reportedly, was q
Page 73 and 74: in a subservient role as a domestic
Page 75 and 76: looked, Magnolia decided, as if the
Page 77 and 78: When he holds me close, Close as we
Page 79 and 80: In the novel, Parthy Ann is a three
Page 81 and 82: opens her handbag and takes out a p
Page 83 and 84: “hero”) and the piano player (t
Page 85 and 86: the nineteenth century’s gender r
Page 87 and 88: of that time. Performance practice
Page 89 and 90: possibilities for manipulation and
Page 91 and 92: order while the musical number repr
Page 93 and 94: “Finding in that sound all the ki
Page 95 and 96: often distorts vibrant voices, rend
Page 97 and 98:
elationships with other characters
Page 99 and 100:
Finally, the process includes a mus
Page 101 and 102:
any other theater music heard up to
Page 103 and 104:
een presented in previous chapters,
Page 105 and 106:
“Though the cold and brutal fact
Page 107 and 108:
[Bridge]: When he goes away dat’s
Page 109 and 110:
angelically while caught in the act
Page 111 and 112:
The song appears twice more as a pl
Page 113 and 114:
CHAPTER VI CURTAIN CALL The musical
Page 115 and 116:
theatre performance practice. They
Page 117 and 118:
BIBLIOGRAPHY General Sources Burkho
Page 119 and 120:
Long, Mary Anne. “‘All Our Girl
Page 121 and 122:
Kerber, Linda K., and Jane Sherron
Page 123 and 124:
Levine, Lawrence W. The Opening of
Page 125 and 126:
Song Title: Show Title: Lyricist: C
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