"Love and Theft:" A Review
An in-depth review of Eric Lott's book, "Love and Theft," on the artform known as blackface minstrelsy.
# 115281 | 3,770 words | 2 sources | APA | 2009 |
Published on Jul 14, 2009 in African-American Studies (1870-1950) , African-American Studies (Racism) , Music Studies (Blues, Jazz) , Music Studies (History)
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This paper discusses the book "Love and Theft," a history of blackface minstrelsy by Eric Lott. The writer explains that blackface minstrelsy, defined as white actors and singers performing blackfaced on stage and in films, stems back many generations to the 1840s, and its roots are found in nearly all forms of American culture throughout its history. Lott reviews previous explanations of this form of entertainment, provides a detailed history of it and its racial and political implications, and a wide-reaching perspective of how the minstrelsy was integrated into the American way of life. Lott recognizes that minstrelsy has many more layers of understanding than what has long been believed--which explains its ability to remain such a long term popular form of entertainment.
Sample of Sources Used:
- Lott, E. (1993) Love and Theft. New York: Oxford Press.Manthia Diawara. The Blackface Stereotype. Retrieved on April 4, 2008. http://www.blackculturalstudies.org/m_diawara/blackface.html
- Nelson, S.R. (1996) Reviewed work(s): Love and Theft: Blackface Minstrelsy and the American Working Class. Journal of Social History, 29(3): 724-72
Cite this Book Review:
"Love and Theft:" A Review (2009, July 14) Retrieved August 10, 2022, from https://www.academon.com/book-review/love-and-theft-a-review-115281/
""Love and Theft:" A Review" 14 July 2009. Web. 10 August. 2022. <https://www.academon.com/book-review/love-and-theft-a-review-115281/>