Uncle Tom's Cabin at the World's Columbian Exposition

Hochman, Barbara

doi:10.1353/lac.2006.0005

Libraries & the Cultural Record

2006

DOI: 10.1353/lac.2006.0005

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Uncle Tom's Cabin at the World's Columbian Exposition

Barbara Hochman¹

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Cited by 3 publications

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“…in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted" (Foucault 2004, 374). With their monumental collections of timeless cultural treasures and innovations contained within temporary structures erected specifically for the fair, many of these sites function as two 3 For an analysis of the Stowe exhibit, see Hochman (2006 distinct forms of heterotopia. On the one hand, they epitomize the museum-like heterotopia that seeks to "enclose in one place" a collection or archive that is "outside of time"; on the other hand, they partake of the festival-like heterotopia that is "linked .…”

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confidence: 99%

By Invitation Only: The American Library Association and the Woman’s Building Library of the World’s Columbian Exposition, Chicago, 1893

Wiegand¹,

Wadsworth

2010

Signs: Journal of Women in Culture and Society

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confidence: 99%

By Invitation Only: The American Library Association and the Woman’s Building Library of the World’s Columbian Exposition, Chicago, 1893

Wiegand¹,

Wadsworth

2010

Signs: Journal of Women in Culture and Society

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Sparing the White Child: The Lessons of Uncle Tom's Cabin for Children in an Age of Segregation

Hochman¹

2011

hcy

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Children's editions of a popular novel inevitably rewrite the source, reworking it for new ends. Such revisions reflect contemporary notions about the uses of children's books and governing assumptions about what children are, want, or need. This essay explores the cultural significance of the Young Folks Uncle Tom's Cabin , a neglected turn-of-the-century children's edition of Stowe's novel, adapted by Grace Duffie Boylan with illustrations by Ike Morgan. First published in 1901, the book was reissued by a variety of publishers until as late as 1956. The Young Folks Uncle Tom's Cabin was radically different from the tale that adults wept over and children eagerly devoured when Stowe's novel first appeared. Editorial changes designed to adapt Uncle Tom's Cabin for "young folks" at the turn of the century imply a series of cultural transformations—altered racial politics, the consolidation of class divisions, increasingly rigid gender binaries, and mounting uncertainty about childhood in the wake of new theories and childrearing practices. Although the Young Folks Uncle Tom's Cabin reinforces the idea of childhood (for some) as a playful, separate sphere, it reflects contemporary anxieties both about race-relations and about what little white boys and girls are made of.

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Race and the Legacy of the World’s Columbian Exposition in American Popular Theater from the Gilded Age toShow Boat(1927)

Paul¹

2021

American Music

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The second act of the musical Show Boat begins on the bustling Midway Plaisance, storied entertainment district for the 1893 World's Columbian Exposition, hosted by Chicago (Figure 1). In the original production, which premiered at the National Theatre in Washington DC on November 25, 1927 and made its Broadway debut on December 27 of that same year, the Exposition visitors were played by members of an all-white chorus. A second chorus, constituted of black singers, did not appear onstage until near the end of the scene. Dressed as Dahomians, they sallied forth from the entrance to their "Village," stage right on Joseph Urban's set (Figure 2). Jerome Kern, the musical's composer, heralded their arrival with primitivist fare: a rhythmic ostinato played in unison by the orchestra, joined by an ominous melody in the lower brass. The men in the black chorus sing first, laying into an aggressive motive. Eight measures after their entry the whole complex shifts up a half a step, and the intervallic content is amplified, the prominent perfect fourth replaced by a minor sixth. At this juncture the women enter and engage in antiphonal exchanges with the men. The section culminates with the black chorus--men and women--singing together, emphatically landing on a F-sharp dominant seventh chord. The lyrics, penned by Oscar Hammerstein II, are the chanted nonsense syllables of a stereotypical "primitive" language (Figure 3a). The white chorus responds in horror, spilling a cascade of couplets: "Don't let us stay here, For though they may play here, they are acting vicious, they might get malicious/And though I'm not fearful, I'll not be a spearful, so you'd better show me, the way from Dahomey!" They quit the stage, and the black chorus announces, "we're glad to see those white folks go," continuing on for a moment in primitivist mode. But abruptly the

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Uncle Tom's Cabin at the World's Columbian Exposition

Cited by 3 publications

References 25 publications

By Invitation Only: The American Library Association and the Woman’s Building Library of the World’s Columbian Exposition, Chicago, 1893

By Invitation Only: The American Library Association and the Woman’s Building Library of the World’s Columbian Exposition, Chicago, 1893

Sparing the White Child: The Lessons of Uncle Tom's Cabin for Children in an Age of Segregation

Race and the Legacy of the World’s Columbian Exposition in American Popular Theater from the Gilded Age toShow Boat(1927)

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