000107668 001__ 107668
000107668 005__ 20211014112854.0
000107668 037__ $$aTAZ-TFG-2021-2038
000107668 041__ $$aeng
000107668 1001_ $$aBarreras Mena, Irene
000107668 24200 $$aHamilton’s Color-conscious Casting and the Power of Hip-hop: “A story about America then, told by America now.”
000107668 24500 $$aHamilton’s Color-conscious Casting and the Power of Hip-hop: “A story about America then, told by America now.”
000107668 260__ $$aZaragoza$$bUniversidad de Zaragoza$$c2021
000107668 506__ $$aby-nc-sa$$bCreative Commons$$c3.0$$uhttp://creativecommons.org/licenses/by-nc-sa/3.0/
000107668 520__ $$aThe objective of this dissertation is to analyze the Broadway musical Hamilton: An American Musical (2016), composed by the Puerto Rican author Lin-Manuel Miranda. This dissertation will analyze the praise and criticism that the musical has received for its “color-conscious” casting, from its analysis as a form of “fanfiction” to its being part of the phenomenon of “Founders Chic”. Nonetheless, this dissertation will defend that the aim of the musical is to represent the diverse population of the United States, along with providing a criticism that applies to both the America of the Revolutionary War and the America of the 21st century. This criticism is mainly achieved through the use of hip-hop as the lingua franca of the musical. Since hip-hop is a non-mainstream genre of music known for its harsh lyrics towards socio-political and economical injustices, it is its combination with the color-conscious casting that really allows for a criticism of the past. <br />Este ensayo ofrece un análisis del musical de Broadway Hamilton: An American Musical (2016), compuesto por el músico puertorriqueño Lin-Manuel Miranda. El principal propósito de este ensayo es analizar los elogios y las críticas que ha recibido el musical tras la elección consciente de un reparto racializado para el musical, desde su análisis como parte del género de “fanfiction”, hasta el haber sido considerado parte del fenómeno “Founders Chic”. Sin embargo, este ensayo defenderá que el propósito del musical es representar a la población diversa que<br />vive en Estado Unidos, así como criticar aspectos que incumben tanto a la América de la Guerra de la Independencia como a la América del siglo XXI. No obstante, esta crítica es posible gracias al uso del hip-hop como lengua vehicular del musical. Ya que el hip-hop es el género de<br />música “no comercial” que se dedica a denunciar situaciones sociopolíticas y económicas injustas, es su combinación con el consciente reparto racializado lo que permite la crítica al pasado.<br /><br />
000107668 521__ $$aGraduado en Estudios Ingleses
000107668 540__ $$aDerechos regulados por licencia Creative Commons
000107668 700__ $$aBaelo Allué, Sonia$$edir.
000107668 7102_ $$aUniversidad de Zaragoza$$b $$c
000107668 8560_ $$f760436@unizar.es
000107668 8564_ $$s520304$$uhttps://zaguan.unizar.es/record/107668/files/TAZ-TFG-2021-2038.pdf$$yMemoria (eng)
000107668 909CO $$ooai:zaguan.unizar.es:107668$$pdriver$$ptrabajos-fin-grado
000107668 950__ $$a
000107668 951__ $$adeposita:2021-10-14
000107668 980__ $$aTAZ$$bTFG$$cFFYL
000107668 999__ $$a20210621230859.CREATION_DATE