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Earle Gene Labor (geboren am 3. März 1928 in Tuskahoma, Oklahoma) ist ein amerikanischer Literaturwissenschaftler, der vor allem mit Arbeiten zu Jack London hervorgetreten ist.

Labor studierte an der Southern Methodist University (B.A. 1949, M.A. 1952) und wurde 1961 an der University of Wisconsin zum Ph.D. promoviert. Seit 1955 lehrt an der Centenary College of Louisiana in Shreveport (der er bis heute als Emeritus verbunden ist), unterbrochen nur von den vier Jahren von 1962-1966, während der er als Professor für Englische Literatur am Adrian College im Bundesstaat Michigan lehrte. Zu Labors Veröffentlichungen zählen Essays zu Schriftstellern wie Henry James, Stephen Crane, Ernest Hemingway, und William Faulkner, sein besonderes Interesse gilt aber seit Jahrzehnten Jack London: 1991 gründete er an seinem College ein London-Forschungszentrum (Jack London Research Center) mit angeschlossenem Museum, das er bis heute kuratiert, 2013 veröffentlichte er eine vielbeachtete Biographie Londons im Verlag Farrar Straus Giroux.

Schriften

(Hrsg. mit Wilford L. Guerin u. a.): A Handbook of Critical Approaches to Literature. Harper, New York 1966.
(Hrsg. mit Wilford L. Guerin u. a.): Mandala: Literature for Critical Analysis. Harper, New York 1970.
(Hrsg.): The Future of College English. College English Association, 1972.
Jack London. Twayne, Boston 1974.
(Hrsg. mit Robert C. Leitz III. und I. Milo Shepard): The Letters of Jack London. 3 Bände. Stanford University Press, Stanford, CA 1988.
(Hrsg.): Jack London: The Call of the Wild, White Fang, and Other Short Stories. Oxford University Press, Oxford und New York 1990.
(Hrsg. mit Robert C. Leitz III. und I. Milo Shepard): Short Stories of Jack London: Authorized One-Volume Edition. Macmillan, New York 1990.
(Hrsg. mit Robert C. Leitz III. und I. Milo Shepard): The Complete Short Stories of Jack London. Stanford University Press, Stanford CA 1993.
(Hrsg.): The Portable Jack London. Penguin, New York 1994.
Jack London: An American Life. Farrar Straus Giroux, New York 2013, ISBN 9780374178482.

Weblinks

Dr. Earle Labor: The Biographer behind the Adventurist (Porträt auf der Website des Centenary College of Louisiana).
Henry Giardina: Man Against Nature (Rezension von Jack London: An American Life in der New York Times Sunday Book Review (Onlineausgabe), 27. Dezember 2013.

Kategorie:Literaturwissenschaftler Kategorie:Amerikanist Kategorie:US-Amerikaner Kategorie:Geboren 1928 Kategorie:Mann

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+'''Earle Gene Labor''' (geboren am [[3. März]] [[1928]] in [[Tuskahoma]], [[Oklahoma]]) ist ein [[Vereinigte Staaten|amerikanischer]] Literaturwissenschaftler, der vor allem mit Arbeiten zu [[Jack London]] hervorgetreten ist.
-'''Drei Chinesen mit dem Kontrabass''' (''Three Chinamen With A Double Bass'') is a popular nonsensical [[German language|German]] [[Children's song|children's song]]. It constitutes a very simple form of [[wordplay]]. While the lyrics remain in effect unchanged, all the vowels are  interchanged by all the vowels, [[umlaut]]s and [[diphthong]]s found in the German language with every consecutive stanza.
+Labor studierte an der [[Southern Methodist University]] ([[Bachelor|B.A.]] 1949, [[Master|M.A.]] 1952) und wurde 1961 an der [[University of Wisconsin]] zum [[Ph.D.]] promoviert. Seit 1955 lehrt an der [[Centenary College of Louisiana]] in [[Shreveport]] (der er bis heute als Emeritus verbunden ist), unterbrochen nur von den vier Jahren von 1962-1966, während der er als Professor für Englische Literatur am [[Adrian College]] im Bundesstaat [[Michigan]] lehrte. Zu Labors Veröffentlichungen zählen Essays zu Schriftstellern wie [[Henry James]], [[Stephen Crane]], [[Ernest Hemingway]], und [[William Faulkner]], sein besonderes Interesse gilt aber seit Jahrzehnten [[Jack London]]: 1991 gründete er an seinem College ein London-Forschungszentrum (''Jack London Research Center'') mit angeschlossenem Museum, das er bis heute kuratiert, 2013 veröffentlichte er eine vielbeachtete Biographie Londons im Verlag [[Farrar Straus Giroux]].
-==Melody==
-The most widely used tune today is as follows<ref>nach Weber-Kellermann, Nr. 169, S. 214, transponiert, typische rhythmische Variation dargestellt</ref>, slight variations in the [[Dotted note|dotted]] [[quarter note]]s are not uncommon:
-[[Image:3Chinesen.png|thumb|center|550px|[[Image:Loudspeaker.png]][[Media:3Chinesen.MID|Listen]]]]
-A slightly different tune used to be more common in Germany and still prevails in Western [[Austria]] and the [[German speaking part of Switzerland]]:
-[[Image:3Chinesen Zürich.png|thumb|center|550px|[[Image:Loudspeaker.png]][[Media:3Chinesen Zürich.MID|Listen]]]].
-Note that in the [[Ambitus (music)|ambitus]] is only a [[perfect fifth|Perfect fifth]] in the latter but a [[minor seventh|Minor seventh]] in the former Variation.
+== Schriften ==
-==Rules of the Game: Lyrics==
+* (Hrsg. mit Wilford L. Guerin u. a.): ''A Handbook of Critical Approaches to Literature''. Harper, New York 1966.
-The first stanza is sung in correct German:
+* (Hrsg. mit Wilford L. Guerin u. a.): ''Mandala: Literature for Critical Analysis''. Harper, New York 1970.
-{| border="0"
+* (Hrsg.): ''The Future of College English''. College English Association, 1972.
-|-----
+* ''Jack London''. Twayne, Boston 1974.
-|
+* (Hrsg. mit Robert C. Leitz III. und I. Milo Shepard): ''The Letters of Jack London''. 3 Bände. Stanford University Press, Stanford, CA 1988.
-:Drei Chinesen mit dem [[Kontrabass]]
+* (Hrsg.): Jack London: ''The Call of the Wild, White Fang, and Other Short Stories''. Oxford University Press, Oxford und New York 1990.
-:saßen auf der Straße und erzählten sich was.
+* (Hrsg. mit Robert C. Leitz III. und I. Milo Shepard): ''Short Stories of Jack London: Authorized One-Volume Edition''. Macmillan, New York 1990.
-:Da kam die Polizei, ei was ist denn das?
+* (Hrsg. mit Robert C. Leitz III. und I. Milo Shepard): ''The Complete Short Stories of Jack London''. Stanford University Press, Stanford CA 1993.
-:Drei Chinesen mit dem Kontrabass.
+* (Hrsg.): ''The Portable Jack London''. Penguin, New York 1994.
-|
+* ''Jack London: An American Life''. Farrar Straus Giroux, New York 2013, ISBN 9780374178482.
-:''Three Chinamen with a double bass
-:''sat on the street and chatted
-:along came the police: ‘Now what is this?‘
-:Three Chinesemen with a double bass.
-|}
+== Weblinks ==
-At least eight stanzas follow, in which all the vowels are consecutively interchanged by the eight [[monophthong]]s found in the German language, following the order ''A, E, I, O, U, Ä, Ö, Ü''. Thus, the second stanza goes
+* [http://www.centenary.edu/news/2014/0000066 Dr. Earle Labor: The Biographer behind the Adventurist] (Porträt auf der Website des Centenary College of Louisiana).
-<blockquote>''Dra Chanasan mat dam Kantrabass''<br>
+* [http://www.nytimes.com/2013/12/29/books/review/jack-london-an-american-life-by-earle-labor.html?_r=0 Henry Giardina: ''Man Against Nature''] (Rezension von ''Jack London: An American Life'' in der New York Times Sunday Book Review (Onlineausgabe), 27. Dezember 2013.
-''saßan af dar Straßa and arzahltan sach was.''<br>
-''Da kam da Palaza, a, was ast dann das?''<br>
-''Dra Chanasan mat dam Kantrabass''</blockquote>
-Sometimes the game is extended to [[diphthong]]s (''ai'', ''au'' and so on). In another variation one of the players announces the next vowel change by shouting `Nochmal!` (''Again!''), or, rather ''nachmal'', ''nechmel'', etc.
+{{DEFAULTSORT:Labor, Earl}}
-== History ==
+[[Kategorie:Literaturwissenschaftler]]
-As is the case with many children's songs, the origins of the song are difficult to determine. Germany's performance rights organization [[GEMA (Germany)|GEMA]] classifies it as a "copyright-free folksong".
+[[Kategorie:Amerikanist]]
+[[Kategorie:US-Amerikaner]]
-However, the "Three Chinesemen" are of a relatively young date; even their direct forerunners cannot be traced back much further than the time of the First World War. For a song of such widespread popularity, written evidence is surprisingly scarce. <ref>The following references refer to information provided by the German Folk Song Archive (''Deutschen Volksliedarchiv'') of the [[Albert Ludwigs University of Freiburg]] at the 18. and 31. Mai 2006. The archive numbers refer to the Archive's collections</ref>.
+[[Kategorie:Geboren 1928]]
+[[Kategorie:Mann]]
-=== Origin of Lyrics and Tune ===
-==== Lyrics ====
-The collected evidence suggests an origin of the song from the Northeast of the former German-speaking world. The protagonists of the version sung today are three Chinamen; this element first appears in a version recorded in 1922 in [[Tartu]], a city in Estonia which until the end of WWII was home to a sizeable minority of [[Baltic German]]s. <ref>DVA Nr. A 11093, Record by a third-grader at the Pantenius School in [[Tartu]]</ref> However, most versions recorded before 1945 feature Japanesemen instead of Chinamen; this variant was first recorded in [[Pomerania]] in 1909. The regular form for "Japanese men" in German is ''Japaner'', but for rhythmic reasons the somewhat outdated ''Japanesen'' was preferred. <ref>DVA Nr. A 146178, recorded by teacher Horn in Bublitz, today [[Bobolice]], Poland</ref> In 1913 the first printed version was published in Berlin with the title ''Drei Japanesen mit 'nem Bass''. Not only the nationality of chatting Asians vary in the early versions, but also their number. Thus, a version recorded in [[Upper Silesia]] in 1928 has ten<ref>DVA Nr. A 50717, 1928  transcript by 1928 von F. Scholz, railway executive in [[Gliwice|Gleiwitz]]</ref>, and yet another version from [[Westphalia]] has twenty Japanesemen. <ref>DVA Nr. A 211866, from the Pagendarm collection of the DVA</ref>.
-The version featuring Japanesemen is still common in some parts of Switzerland, and a particularly inventive version recorded in [[Ticino]] not only rounds off the song with a final [[Yodeling|yodel]] but has the Asians sitting on the street not with, but ''without'' a double bass.<ref>DVA Nr. A 215712, recorded by Dr. Emily Gerstner in [[Bosco/Gurin]]</ref>. The reason for this could be that some of the oldest known variants do not even feature any musical instrument at all, but rather has them sitting on a street without a passport (German ''pass''), which would even give the lyrics at least a trace of meaning. Whether these are in fact the original lyrics or whether they are later well-meant corrections by an anonymous hand, must remain speculation.
-Furthermore, the precise type of musical instrument was not settled until around 1930. The threefold repetition of the monosyllabic ''Bass'' was gradually replaced by ''Kontrabass'', which in fact fits much better into the metric structure of the text. Thus, the song book ''Der Kilometerstein'' in the 1934 Potsdam edition furnished by von Gustav Scholten still has the ''Bass'', while the 1941 Mainz edition by [[Ludwig Voggenreiter]] already reads ''Kontrabass''.
-In fact, there are hardly two identical versions in the early records. While this is a characteristic of most folksongs, the fact that the ''Three Chinesemen'' are not only a song but also a game may account for many of the irregularities. Just about every single word has been changed over time. Thus, there are variants that have the Asians sitting, standing, or walking on the street, while they were chatting or singing, and at times they even did all this not on a street at all, but rather in the woods.
-Only in the 1970s have the song books uniformly settled on the version cited in the introduction. The main reason for this is most certainly the standardizing effect of mass media, in this case the [[Schlager]]-inflected recording sung by the trio [[Medium-Terzett]] that hit the German charts in   1968 and was broadcast by televison and radio countless times.<ref>DVA Nr. F 6633</ref>.
-==== Tune ====
-The two tunes noted above have been in use virtually since the very first records. In some instances,  the melody combines elements of both; for instance, the early Estonian and Pomeranian versions are closer to today's "Swiss" tune, while further west the "German" tune seems to have prevailed from the start. Most of the older versions exhibit a more complex harmonic and rhythmic structure than the extant two tunes, though; some demanded a [[Triad (music)|triadic]] [[arpeggio]] or other more complex [[Chord (music)|chords]] at some points, others covered wider intervals.<ref>DVA Nr. A 87590 und Vg 3080, both recorded in 1913 in Berlin and [[Bischofswerda]] respectively, are typical examples</ref>.
-The gradual simplification of the melody may be due to the fact that it is after all a children's song; it may have been altered for pedagogical purposes, i.e. to suit the faculties of kindergarden-age kids. In any case, the [[Perfect fifth|fifth]] interval that rules both extant tunes is typical for text-oriented songs and thus fits the use of the song as a game.
-=== Origin and Rules of the Game ===
-The vowel exchange was not the original game associated with the song. A version published in Leipzig in 1913 (G. Winter, ''Ringel, Ringel, Rosenkranz.'' Leipzig 1913) entitled "Ein Japanese mit dem Bass" (''One Japanese Man With A Bass'') is conceived as a kind of ring-a-ring-a-roses game and does not provide any alteration of the lyrics at all. A rule from 1929 for "Ein Chinese mit dem Bass, Bass, Bass" (A Chineseman with a bass, bass, bass), says how the children stand and sing in a ring, while somebody goes around tapping a person at random, on the shoulder.  The person who is tapped then has to go into the middle of the circle.  Once there are enough children in the circle, they start jumping around.<ref>Karl Wehrhan, ''Frankfurter Kinderleben in Sitte und Brauch, Kinderlied und Kinderspiel.'' Heinrich Staadt, Wiesbaden 1929, Nr. 3259, S. 250</ref> ''</blockquote>
-In other variants the variable parameter were not the vowels but the number of musical Asians. The Pomeranian version from 1909 increases the unmer of Japanesemen by one with every stanza (''Zwei Japanesen mit dem Bass ...'', ''Drei Japanesen ...'' etc.), other variants counted them down from twenty or ten in the manner of ''[[Ten Little Niggers]]'' (German ''Zehn kleine Negerlein'').
-The game involving an exchange of the vowels is first recorded in the above-mentioned 1934 edition of ''Der Kilometerstein''. [[Han Sen]], a Chinese writer who was born in Berlin in 1925 but emigrated shortly after the "[[Machtergreifung]]" notes in his autobiography (entitled ''Ein Chinese mit dem Kontrabass'') that he knew this rule in his childhood<ref>Han Sen, ''Ein Chinese mit dem Kontrabass''. Claassen Verlag, München 2001
-ISBN 3546002776</ref>; it must therefore have been current before 1933 at least in Berlin. The fast increasing popularity of the game in the twenties may be explained by the taste of the age and may account for its fast increasing popularity . It was the early heydey of German [[Schlager]]. Many hits of the age owed their comic effect on wellnigh [[Dadaism|dadasist]] meaninglessness and simple nonsensical rhymes such as ''Mein Onkel Bumba aus Kalumba'' ("My uncle Bumba from Kalumba") or ''Mein Papagei frisst keine harten Eier'' ("My parrot won't eat hard-boiled eggs").
-It is possible that the idea of vowel exchange derives from like games played by children in  Romance-speaking Europe. The same vowel-excahnge rule applies to the Spanish song-game ''La mar estaba serena'' (also: ''salada'') and, with some differences, the Italian ''[[Giuseppe Garibaldi|Garibaldi]] fu ferito''<ref>Ulla Schnellen, Irmgard Merkt: ''Die Welt dreht sich. Ein interkulturelles Liederbuch'' ed. Kultur Kooperative Ruhr. Dortmund 1991, p.69</ref>.
-Children of [[German Turks|Turkish immigrants to Germany]] have picked up both tune and game  and adapted it to the peculiarities of the Turkish language. Unlike German, the Turkish language has a [[vowel harmony]] system, which accords much greater significance to the vowels in the process of semantic signification. Therefore, while the actual meaning of the lyrics remains discernible in German at any stage of the game, it changes significantly in Turkish. Hilarity ensues.<ref>Note of the   DVA, 2006</ref>