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“THIS BLOOMIN’ COUNTRY’S A FRAUD”: MUSICAL COMMODIFICATION AND WESTWARD EXPANSION IN SHARON POLLOCK’S WALSH

Year 2020, Issue: 39, 293 - 306, 14.04.2020
https://doi.org/10.30794/pausbed.672731

Abstract

References

  • Adorno, T. (1991). “On the Fetish Character in Music and the Regression of Listening”, The Culture Industry: Selected Essays on Mass Culture, (Ed. J. M. Bernstein), Routledge, New York.
  • Ball, M.H.R.S. (2013). Grim Commerce: Scalps, Bounties, and the Transformation of Trophy-Taking in the Early American Northeast, 1450-1770. Unpublished dissertation, University of Colorado, Boulder.
  • Berlin, E. (1980). Ragtime : A Musical and Cultural History. University of California Press, Berkeley.
  • Bilge, Z. (2008). An Alternative Mode of Communication: Songs and Singing in Shakespeare’s Tragedies. Unpublished dissertation, Istanbul University, Istanbul.
  • Bilge, Z. (2016). “Voices from the Past: Music in The Ice People”, Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi, 33/2, 53-62.
  • Bryan, A. et al. (1918). When Alexander Takes His Ragtime Band to France. Waterson, Berlin & Snyder, New York.
  • Coates, K. and Morrison, W. R. (2005). Land of the Midnight Sun: A History of the Yukon. McGill University Press, Montreal.
  • Cohen, N. (2008). American Folk Songs: A Regional Encyclopedia. Greenwood, Westport.
  • Dyndahl, P.; Karlsen, S.; Skarberd, O. and Nielsen S. G. (2014). “Cultural omnivorousness and musical gentrification”, Action, Criticism & Theory for Music Education, 13/1, 40-68.
  • Fowke, E. (1954). Folk Songs of Canada. Waterloo Music Company Limited, Waterloo, Ontario.
  • Fowke, E. (1962). “American Cowboy and Western Pioneer Songs in Canada”, Western Folklore, 21/4, 247-256.
  • Fetherling, D. (1997). The Gold Crusades: A Social History of Gold Rushes, 1849-1929. Toronto University Press, Toronto.
  • Fletcher, Alice C. (1893). A Study on Omaha Indian Music. Peabody Museum of American Archaeology and Ethnology, Cambridge, Massachusetts.
  • Gilroy, P. (1993). The Black Atlantic. Verso, London.
  • Gordon, R. J. (2017). The Rise and Fall of American Growth. Princeton University Press, Princeton.
  • Greenberg, C. (1965). “Avantgarde and Kitsch”, Art and Culture: Critical Essays. Beacon Press, Boston.
  • Holder, J. H. (2000), “Broken Toys: The Destruction of the National Hero in the Early History Plays of Sharon Pollock”, Sharon Pollock: Essays on Her Works (Ed. A. F. Nothof), Guernica, Toronto.
  • Jameson, F. (1983). The Political Unconscious. Routledge, London.
  • Jasen, D. and Tichenor, T. J. (1978). Rags and Ragtime: A Musical History. Dover, New York.
  • Kaplan, A. (2005). The Anarchy of Empire in the Making of U.S. Culture. Harvard University Press, Cambridge, Massachusetts.
  • Kinzie, J. A. [Mrs. John H. Kinzie]. (1856). Wau-Bun, The Early Day in the North West. Derby & Jackson, New York.
  • Knowles, R. P. (1987). “Replaying History: Canadian Historiographic Metadrama”, Dalhousie Review, 67, 228-243.
  • Lomax, J. A. (1922). Cowboy Songs and Other Frontier Ballads. MacMillan, New York.
  • Manuel, Peter. “Modernity and Musical Structure”, Music and Marx: Ideas, Practice, Politics (Ed. R. Burckhardt Qureshi), Routledge, New York and London.
  • Mason, D. G. (1918). “Folk-Song and American Music”, The Musical Quarterly, 4/3, 323-332.
  • Moderwell, H. (1915). “Ragtime”, The New Republic, October 16, 1915. (284-286).
  • Moore, Virgil. (1898). “George W. Carmack”, The Klondike News, April 1.
  • New, W. H. (2001). A History of Canadian Literature. McGill-Queen’s University Press, Montreal.
  • Nothof, A. F. (2000). “Crossing Borders: Sharon Pollock’s Revisitation of the Canadian Frontiers”, Sharon Pollock: Essays on Her Works, (Ed. A. F. Nothof), Guernica, Toronto.
  • Pollock, S. (1986). Walsh. Talon Books, Vancouver. — interview by R. H. Thompson, Theatre Museum Canada. (July 6, 2012). Sharon Pollock on writing history, the playwright’s authority, and Kabloona Talk (Part 1 of 8) [Video file]. Retreived from https://www.youtube.com/watch?v=_k7ddUUH3iE&list=PLCDA61BCFCC60B38F.
  • Smith, E. W. (1919). “Wild Miners I Have Met”, MacLean’s, XXXII/2, 30-31, 55-56.
  • Smith, R. A. (1964). “The Scalp Hunter in the Borderlands 1835-1850”, Arizona and the West, 6/1, 5-22.
  • Trachtenberg, A. (1987). The Incorporation of America. Hill and Wang, New York.
  • Vestal, S. (1932). Sitting Bull: Champion of the Sioux. University of Oklahoma Press, Norman, Oklahoma.

“BU GELİŞEN ÜLKE BİR ALDATMACA”: SHARON POLLOCK’IN WALSH ADLI OYUNUNDA MÜZİĞİN METALAŞMASI VE BATIYA GENİŞLEME

Year 2020, Issue: 39, 293 - 306, 14.04.2020
https://doi.org/10.30794/pausbed.672731

Abstract

Canadian playwright Sharon Pollock’s Walsh (1973) revisits the aftermath of the Battle of Little Big Horn (1876) when Sitting Bull led the Sioux to cross the Canadian border for seeking refuge, befriended Major John Walsh of the North West Mounted Police and yet was forced to surrender to the American forces despite diplomatic exchanges. Since the play roughly coincides with the centennial celebrations in Canada and marks a renewed interest in Canadian drama for national topics, it has been studied in terms of its critical perspective to official historiography and its metadramatic treatment of the mentioned historical events. However, less scholarly attention has been spared to the use of songs in the play. Prioritizing the song form in its musical structure, Walsh integrates the history of westward expansion with the emerging economy and technology of music, resulting in the commodification of music at the turn of the twentieth century.

References

  • Adorno, T. (1991). “On the Fetish Character in Music and the Regression of Listening”, The Culture Industry: Selected Essays on Mass Culture, (Ed. J. M. Bernstein), Routledge, New York.
  • Ball, M.H.R.S. (2013). Grim Commerce: Scalps, Bounties, and the Transformation of Trophy-Taking in the Early American Northeast, 1450-1770. Unpublished dissertation, University of Colorado, Boulder.
  • Berlin, E. (1980). Ragtime : A Musical and Cultural History. University of California Press, Berkeley.
  • Bilge, Z. (2008). An Alternative Mode of Communication: Songs and Singing in Shakespeare’s Tragedies. Unpublished dissertation, Istanbul University, Istanbul.
  • Bilge, Z. (2016). “Voices from the Past: Music in The Ice People”, Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi, 33/2, 53-62.
  • Bryan, A. et al. (1918). When Alexander Takes His Ragtime Band to France. Waterson, Berlin & Snyder, New York.
  • Coates, K. and Morrison, W. R. (2005). Land of the Midnight Sun: A History of the Yukon. McGill University Press, Montreal.
  • Cohen, N. (2008). American Folk Songs: A Regional Encyclopedia. Greenwood, Westport.
  • Dyndahl, P.; Karlsen, S.; Skarberd, O. and Nielsen S. G. (2014). “Cultural omnivorousness and musical gentrification”, Action, Criticism & Theory for Music Education, 13/1, 40-68.
  • Fowke, E. (1954). Folk Songs of Canada. Waterloo Music Company Limited, Waterloo, Ontario.
  • Fowke, E. (1962). “American Cowboy and Western Pioneer Songs in Canada”, Western Folklore, 21/4, 247-256.
  • Fetherling, D. (1997). The Gold Crusades: A Social History of Gold Rushes, 1849-1929. Toronto University Press, Toronto.
  • Fletcher, Alice C. (1893). A Study on Omaha Indian Music. Peabody Museum of American Archaeology and Ethnology, Cambridge, Massachusetts.
  • Gilroy, P. (1993). The Black Atlantic. Verso, London.
  • Gordon, R. J. (2017). The Rise and Fall of American Growth. Princeton University Press, Princeton.
  • Greenberg, C. (1965). “Avantgarde and Kitsch”, Art and Culture: Critical Essays. Beacon Press, Boston.
  • Holder, J. H. (2000), “Broken Toys: The Destruction of the National Hero in the Early History Plays of Sharon Pollock”, Sharon Pollock: Essays on Her Works (Ed. A. F. Nothof), Guernica, Toronto.
  • Jameson, F. (1983). The Political Unconscious. Routledge, London.
  • Jasen, D. and Tichenor, T. J. (1978). Rags and Ragtime: A Musical History. Dover, New York.
  • Kaplan, A. (2005). The Anarchy of Empire in the Making of U.S. Culture. Harvard University Press, Cambridge, Massachusetts.
  • Kinzie, J. A. [Mrs. John H. Kinzie]. (1856). Wau-Bun, The Early Day in the North West. Derby & Jackson, New York.
  • Knowles, R. P. (1987). “Replaying History: Canadian Historiographic Metadrama”, Dalhousie Review, 67, 228-243.
  • Lomax, J. A. (1922). Cowboy Songs and Other Frontier Ballads. MacMillan, New York.
  • Manuel, Peter. “Modernity and Musical Structure”, Music and Marx: Ideas, Practice, Politics (Ed. R. Burckhardt Qureshi), Routledge, New York and London.
  • Mason, D. G. (1918). “Folk-Song and American Music”, The Musical Quarterly, 4/3, 323-332.
  • Moderwell, H. (1915). “Ragtime”, The New Republic, October 16, 1915. (284-286).
  • Moore, Virgil. (1898). “George W. Carmack”, The Klondike News, April 1.
  • New, W. H. (2001). A History of Canadian Literature. McGill-Queen’s University Press, Montreal.
  • Nothof, A. F. (2000). “Crossing Borders: Sharon Pollock’s Revisitation of the Canadian Frontiers”, Sharon Pollock: Essays on Her Works, (Ed. A. F. Nothof), Guernica, Toronto.
  • Pollock, S. (1986). Walsh. Talon Books, Vancouver. — interview by R. H. Thompson, Theatre Museum Canada. (July 6, 2012). Sharon Pollock on writing history, the playwright’s authority, and Kabloona Talk (Part 1 of 8) [Video file]. Retreived from https://www.youtube.com/watch?v=_k7ddUUH3iE&list=PLCDA61BCFCC60B38F.
  • Smith, E. W. (1919). “Wild Miners I Have Met”, MacLean’s, XXXII/2, 30-31, 55-56.
  • Smith, R. A. (1964). “The Scalp Hunter in the Borderlands 1835-1850”, Arizona and the West, 6/1, 5-22.
  • Trachtenberg, A. (1987). The Incorporation of America. Hill and Wang, New York.
  • Vestal, S. (1932). Sitting Bull: Champion of the Sioux. University of Oklahoma Press, Norman, Oklahoma.
There are 34 citations in total.

Details

Primary Language English
Subjects Creative Arts and Writing
Journal Section Articles
Authors

Sinem Yazıcıoğlu 0000-0003-4092-3152

Publication Date April 14, 2020
Acceptance Date February 11, 2020
Published in Issue Year 2020 Issue: 39

Cite

APA Yazıcıoğlu, S. (2020). “THIS BLOOMIN’ COUNTRY’S A FRAUD”: MUSICAL COMMODIFICATION AND WESTWARD EXPANSION IN SHARON POLLOCK’S WALSH. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi(39), 293-306. https://doi.org/10.30794/pausbed.672731
AMA Yazıcıoğlu S. “THIS BLOOMIN’ COUNTRY’S A FRAUD”: MUSICAL COMMODIFICATION AND WESTWARD EXPANSION IN SHARON POLLOCK’S WALSH. PAUSBED. April 2020;(39):293-306. doi:10.30794/pausbed.672731
Chicago Yazıcıoğlu, Sinem. “‘THIS BLOOMIN’ COUNTRY’S A FRAUD’: MUSICAL COMMODIFICATION AND WESTWARD EXPANSION IN SHARON POLLOCK’S WALSH”. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, no. 39 (April 2020): 293-306. https://doi.org/10.30794/pausbed.672731.
EndNote Yazıcıoğlu S (April 1, 2020) “THIS BLOOMIN’ COUNTRY’S A FRAUD”: MUSICAL COMMODIFICATION AND WESTWARD EXPANSION IN SHARON POLLOCK’S WALSH. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi 39 293–306.
IEEE S. Yazıcıoğlu, “‘THIS BLOOMIN’ COUNTRY’S A FRAUD’: MUSICAL COMMODIFICATION AND WESTWARD EXPANSION IN SHARON POLLOCK’S WALSH”, PAUSBED, no. 39, pp. 293–306, April 2020, doi: 10.30794/pausbed.672731.
ISNAD Yazıcıoğlu, Sinem. “‘THIS BLOOMIN’ COUNTRY’S A FRAUD’: MUSICAL COMMODIFICATION AND WESTWARD EXPANSION IN SHARON POLLOCK’S WALSH”. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi 39 (April 2020), 293-306. https://doi.org/10.30794/pausbed.672731.
JAMA Yazıcıoğlu S. “THIS BLOOMIN’ COUNTRY’S A FRAUD”: MUSICAL COMMODIFICATION AND WESTWARD EXPANSION IN SHARON POLLOCK’S WALSH. PAUSBED. 2020;:293–306.
MLA Yazıcıoğlu, Sinem. “‘THIS BLOOMIN’ COUNTRY’S A FRAUD’: MUSICAL COMMODIFICATION AND WESTWARD EXPANSION IN SHARON POLLOCK’S WALSH”. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, no. 39, 2020, pp. 293-06, doi:10.30794/pausbed.672731.
Vancouver Yazıcıoğlu S. “THIS BLOOMIN’ COUNTRY’S A FRAUD”: MUSICAL COMMODIFICATION AND WESTWARD EXPANSION IN SHARON POLLOCK’S WALSH. PAUSBED. 2020(39):293-306.