profession. Ammen then examines her rise to stardom and May’s mastering of timing, spontaneity, interaction with audiences, and the development of her woman/child stage persona. Next, Ammen addresses the more problematic aspect of Irwin’s career, specifically the coon songs that firmly established her popularity. Ammen divides the dozens of coon songs written and/or performed by Irwin into seven groups according to stereotypes and the narrative voices Irwin used most often, such as the “Female Victim,” “Greedy Gal,” and the male “Pathetic Coon.” Irwin often employed her “child” persona with a high-pitched voice and exaggerated pronunciation to mitigate the violence and crude imagery in songs like “The Bully.” Unlike other coon shouters, Irwin did not “cork up” and was unapologetic about her significant weight. Rather, she often performed these songs with a matronly air in elegant gowns, thereby disconnecting her personal style from the crude content of the songs. Chapters 5 and 6 discuss Irwin’s domestic persona with her articles and interviews on cooking, working her dairy farm, and raising her two sons. Though not overtly political, Irwin supported many causes including women’s rights and animal rights. She considered herself a pacifist. The final chapter examines Irwin’s strategies for success as a performer, wife, and mother. Irwin had hoped to be remembered for making people laugh, rather than for the coon songs that made her a star. “In the short run,” Ammen laments, “she was remembered primarily as a coon shouter. In the longer run, she was probably ignored because of her association with a racist form of singing that is only recently beginning to be studied. And, sadly, her ‘Bully Song’ surely negatively affected the treatment of blacks in more ways than she could have possibly realized” (176). Fortunately for us, Ammen has brought our attention to this remarkable performer.

中文翻译：

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南方舞台上的女性，1800 年至 1865 年：美国戏剧黄金时代的表演、性别和身份，罗宾·O·沃伦 (Robin O. Warren)

职业。然后，阿门检查了她成为明星的过程，以及梅对时机、自发性、与观众的互动以及她的女性/儿童舞台角色的发展的掌握。接下来，Ammen 解决了 Irwin 职业生涯中更成问题的方面，特别是那些牢固确立了她的人气的浣熊歌曲。Ammen 根据刻板印象和 Irwin 最常使用的叙事声音，将 Irwin 创作和/或表演的数十首浣熊歌曲分为七组，例如“女性受害者”、“贪婪的女孩”和男性“可怜的浣熊”。欧文经常用她的“孩子”形象，用高亢的声音和夸张的发音来减轻像“欺负者”这样的歌曲中的暴力和粗俗的形象。与其他浣熊大喊大叫不同的是，欧文没有“软木塞”，并且对自己的体重毫无歉意。相当，她经常穿着优雅的长袍，带着娘娘腔的气质演唱这些歌曲，从而将她的个人风格与歌曲的粗俗内容脱节。第 5 章和第 6 章通过关于烹饪、在奶牛场工作和抚养两个儿子的文章和采访讨论了欧文的家庭角色。虽然不是公开的政治，欧文支持许多事业，包括妇女权利和动物权利。她认为自己是一个和平主义者。最后一章考察了欧文作为表演者、妻子和母亲的成功策略。欧文希望被人们记住是因为让人们发笑，而不是因为让她成为明星的浣熊歌曲。“在短期内，”Ammen 感叹道，“人们记得她主要是作为一个浣熊大喊大叫的人。从长远来看，她可能被忽视了，因为她与一种最近才开始被研究的种族主义歌唱形式有关。而且，可悲的是，她的“欺负之歌”肯定以比她可能意识到的更多方式对黑人的待遇产生了负面影响“（176）。对我们来说幸运的是，安门让我们注意到了这位出色的表演者。