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Transformations of a Jewish Princess: Salomé and the Remaking of the Jewish Female Body from Sarah Bernhardt to Betty Boop
Ist Teil von
Philological quarterly, 2013-01, Vol.92 (1), p.89
Ort / Verlag
Iowa City: University of Iowa
Erscheinungsjahr
2013
Link zum Volltext
Quelle
Literature Online (LION)
Beschreibungen/Notizen
In September 1908, Fanny Brice (BIRTHNAME: FANIA BORACH) took the stage at a Friar's Club benefit in Arverne, Rockaway-the far reaches of the distant borough of Queens. Although the venue was hardly first-rank, the stakes were high.' Fanny had reached something of a career impasse: having been dismissed from the chorus line at her most prestigious job to date, George M. Cohan's New Follies Review, she realized that a terpsichorean future was probably not in the offing. She needed to land more than a bit part; while she had been hired in that capacity for the burlesque variety show "College Girls", Fanny aspired to a more prominent role. Resourceful as ever, Brice turned to a friend, an up-and-coming Tin Pan Alley tunesmith by the name of Irvine Berlin. But the author want to conclude on a more speculative note, by returning to the new body that these women also exemplified to the history of Jews, and especially the Jewish woman's body.