diese Regeln durch undiszipliniertes Winken oder Lachen durchbrachen und sich die Straße aneigneten. Paraden waren eben nicht nur staatstragende Rituale, sondern auch emotionale Spektakel und damit populärkulturelle Unterhaltung.
Inhaltsverzeichnis
ContentsIntroduction……………………………………………………………………………………………… 7
1 Performative Preliminaries ………………………………………………………………… 14
1.1 Public Celebrations in Recent Historiography ……………………………..15
1.2 Identity in Question: Text or Performance? …………………………………21
1.3 Performances: Actors, Interpretations, and Materiality ………………..33
2 Case Study: the ‚Harlem Hellfighters‘ on Parade (February 1919) ………………………………………………………………………41
3 Setting the Stage: the Organizers of Parades………………………………………73
3.1 Military Prep Work ……………………………………………………………………… 74
3.2 Civic Prep Work ………………………………………………………………………….. 85
3.3 Getting Excited in the Press ……………………………………………………….100
4 On Stage: America’s Conquering Heroes …………………………………………114
4.1 The Strong Heroes ……………………………………………………………………..116
4.2 Machines of War: ‚Promises‘ of an Awe-some Modernity? ………..141
4.3 ‚One-legged Pals‘-Wounded Soldiers in the Parade ……………….149
4.4 ‚Flags, Handkerchiefs and Tears‘-Dead Soldiers…………………….161
4.5 Beyond Perfect Discipline and Americanism ……………………………..169
5 Masses, Power, Excess: Mere Spectators? ………………………………………..188
5.1 Being Part of a ‚Sensory‘ Spectacle……………………………………………..190
5.2 An ‚Ideological‘ Spectacle …………………………………………………………..201
5.3 Excess, Transgression and Deviant Behavior……………………………..206
5.4 Following the Parade Routine? …………………………………………………..214
5.5 Holding on to the Parade After the Curtain’s Down ………………….222
6 WELCOME HOME , BOYS !
Conclusions……………………………………………………………………………………………237
Acknowledgments …………………………………………………………………………………246
Works Cited …………………………………………………………………………………………..248
Illustrations ……………………………………………………………………………………………273
Index ……………………………………………………………………………………………………..274