Hostname: page-component-745bb68f8f-f46jp Total loading time: 0 Render date: 2025-01-13T11:24:50.333Z Has data issue: false hasContentIssue false
  • English
  • Français

Changed For Good: A Feminist History of the Broadway Musical. By Stacy Wolf. New York: Oxford University Press, 2011.

Published online by Cambridge University Press:  13 August 2013

Trudi Wright
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Book Review
Information
Journal of the Society for American Music , Volume 7 , Issue 3 , August 2013 , pp. 338 - 342
Copyright
Copyright © The Society for American Music 2013 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 See, for example, Knapp's, RaymondThe American Musical and the Formation of National Identity (New York: Princeton University Press, 2005)Google Scholar; and his The American Musical and the Performance of Personal Identity (New York: Princeton University Press, 2009).

2 The second part of this definition comes from David Halperin, as quoted in Engel, Lehman, Words with Music: Creating the Musical Libretto, revised by Howard Kissel (New York: Applause Theatre and Cinema Books, 2006), 113Google Scholar.

3 Butler, Judith, “Performative Acts and Gender Constitution,” Theatre Journal 40/4 (December 1988): 519–31CrossRefGoogle Scholar.

4 McClary, Susan, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991)Google Scholar.