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Preface and Acknowledgments | ||
Introduction: Piety, Pleasure, and the Public Sphere: Cultural Politics and the Problem of Realism | 1 | |
Pt. I | Transatlantic Trajectories: Learning Cultural Hierarchy in an Age of Empire | |
1 | "A Celtic Pilgrimage": Culture, Class, and Evangelism in Alexander Irvine's Global Apprenticeship | 29 |
2 | "We Gave Them Realism": Sylvester Poli's Theatrical World | 71 |
Pt. II | Class Conflict and the Meaning of Culture: Negotiating Hierarchy in New Haven | |
3 | "The Tithe to Moloch": Religion and the Cultural Politics of Class | 111 |
4 | "Social Evangelism, Its Dangers and Difficulties": Pastor Irvine and the Public Sphere | 138 |
5 | "Mr. Poli Is the Big Chief!": The Theatrical Manager, His Audiences, and the Vaudeville Industry | 179 |
Pt. III | Hierarchy into Autonomy: Narrating Culture for a New Century | |
6 | Making Working-Class Narrative "From the Bottom Up": Alexander Irvine, the Evolutionary Vernacular, and the Socialist Bildungsroman | 217 |
7 | From The Magyar to My Lady of the Chimney Corner: Weaving Gender, Race, Ethnicity, and Working-Class Identity | 259 |
8 | To "Change the Face of Civilization": Religion, Popular Theater, and the Politics of Culture | 298 |
App | Vaudeville Acts at Poli's New Haven Theaters, 1894-1913 | |
Abbreviations Used in Notes | 351 | |
Notes | 353 | |
Bibliographical Essay | 402 | |
Index | 421 |
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Add The evangelist and the impresario, What is culture and who has the authority to define it? If culture is comprised of hierarchies, who determines what their standards should be, and how? What are the stakes involved in conceiving some forms of culture as good and others as bad? These may s, The evangelist and the impresario to your collection on WonderClub |