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| eric lott love and theft: Black Mirror Eric Lott, 2017-09-25 Blackness is a prized commodity in American pop culture. Marketed to white consumers, it invites whites to view themselves in a mirror of racial difference, while remaining “wholly” white. From sports to literature, film, and music to investigative journalism, Eric Lott reveals the hidden dynamics of this self-and-other racial mirroring. |
| eric lott love and theft: Love & Theft Eric Lott, 2013-09-12 This new edition of Eric Lott's classic cultural history features a new foreword by Greil Marcus and afterword by the author. |
| eric lott love and theft: The Cambridge Companion to Bob Dylan Kevin J. H. Dettmar, 2009-02-19 A towering figure in American culture and a global twentieth-century icon, Bob Dylan has been at the centre of American life for over forty years. The Cambridge Companion to Bob Dylan brings fresh insights into the imposing range of Dylan's creative output. The first Part approaches Dylan's output thematically, tracing the evolution of Dylan's writing and his engagement with American popular music, religion, politics, fame, and his work as a songwriter and performer. Essays in Part II analyse his landmark albums to examine the consummate artistry of Dylan's most accomplished studio releases. As a writer Dylan has courageously chronicled and interpreted many of the cultural upheavals in America since World War II. This book will be invaluable both as a guide for students of Dylan and twentieth-century culture, and for his fans, providing a set of new perspectives on a much-loved writer and composer. |
| eric lott love and theft: The Creolization of American Culture Christopher J Smith, 2013-09-16 The Creolization of American Culture examines the artworks, letters, sketchbooks, music collection, and biography of the painter William Sidney Mount (1807–1868) as a lens through which to see the multiethnic antebellum world that gave birth to blackface minstrelsy. As a young man living in the multiethnic working-class community of New York's Lower East Side, Mount took part in the black-white musical interchange his paintings depict. An avid musician and tune collector as well as an artist, he was the among the first to depict vernacular fiddlers, banjo players, and dancers precisely and sympathetically. His close observations and meticulous renderings provide rich evidence of performance techniques and class-inflected paths of musical apprenticeship that connected white and black practitioners. Looking closely at the bodies and instruments Mount depicts in his paintings as well as other ephemera, Christopher J. Smith traces the performance practices of African American and Anglo-European music-and-dance traditions while recovering the sounds of that world. Further, Smith uses Mount's depictions of black and white music-making to open up fresh perspectives on cross-ethnic cultural transference in Northern and urban contexts, showing how rivers, waterfronts, and other sites of interracial interaction shaped musical practices by transporting musical culture from the South to the North and back. The Africanization of Anglo-Celtic tunes created minstrelsy's musical creole synthesis, a body of melodic and rhythmic vocabularies, repertoires, tunes, and musical techniques that became the foundation of American popular music. Reading Mount's renderings of black and white musicians against a background of historical sites and practices of cross-racial interaction, Smith offers a sophisticated interrogation and reinterpretation of minstrelsy, significantly broadening historical views of black-white musical exchange. |
| eric lott love and theft: Imitation Nation Jason Richards, 2017 The book offers a new model for understanding the ways in which the nation's identity and literature took shape during the early phases of the American republic. |
| eric lott love and theft: Sambo Joseph Boskin, 1988-09-08 Before the tumultuous events of the 1960's ended his long life, Sambo prevailed in American culture as the cheerful and comical entertainer. This stereotypical image of the black male, which developed during the Colonial period, extended into all regions and classes, pervading all levels of popular culture for over two centuries. It stands as an outstanding example of how American society has used humor oppressively. Joseph Boskin's Sambo provides a comprehensive history of this American icon's rise and decline, tracing the image of Sambo in circuses and minstrel shows, in comic strips and novels, in children's stories, in advertisements and illustrations, in films and slides, in magazines and newspapers, and in knick-knacks found throughout the house. He demonstrates how the stereotype began to unravel in the 1930s with several radio series, specifically the Jack Benny show, which undercut and altered the Sambo image. Finally, the democratic thrust of World War II, coupled with the advent of the Civil Rights movement and growing national recognition of prominent black comedians in the 1950's and '60's, laid Sambo to rest. |
| eric lott love and theft: Black Like You John Strausbaugh, 2007-08-16 A refreshingly clearheaded and taboo-breaking look at race relations reveals that American culture is neither Black nor White nor Other, but a mix-a mongrel. Black Like You is an erudite and entertaining exploration of race relations in American popular culture. Particularly compelling is Strausbaugh's eagerness to tackle blackface-a strange, often scandalous, and now taboo entertainment. Although blackface performance came to be denounced as purely racist mockery, and shamefacedly erased from most modern accounts of American cultural history, Black Like You shows that the impact of blackface on American culture was deep and long-lasting. Its influence can be seen in rock and hiphop; in vaudeville, Broadway, and gay drag performances; in Mark Twain and gangsta lit; in the earliest filmstrips and the 2004 movie White Chicks; on radio and television; in advertising and product marketing; and even in the way Americans speak. Strausbaugh enlivens themes that are rarely discussed in public, let alone with such candor and vision: - American culture neither conforms to knee-jerk racism nor to knee-jerk political correctness. It is neither Black nor White nor Other, but a mix-a mongrel. - No history is best forgotten, however uncomfortable it may be to remember. The power of blackface to engender mortification and rage in Americans to this day is reason enough to examine what it tells us about our culture and ourselves. - Blackface is still alive. Its impact and descendants-including Black performers in whiteface-can be seen all around us today. |
| eric lott love and theft: Natural Acts Pamela Fox, 2009 Hillbilly, honky-tonk, Nashville glitz, or alt.country: what makes music authentically country? |
| eric lott love and theft: Beyond the Color Line and the Iron Curtain Kate A. Baldwin, Katherine Anne Baldwin, 2002-10-17 DIVRe-examines the relations between African Americans and the Soviet Union from a more transnational perspective and shows how these relations were crucial in the formation of Black modernism./div |
| eric lott love and theft: Gumshoe America Sean McCann, 2000-12-06 DIVSees hard-boiled crime fiction in relation to a changing literary marketplace and as an arena for conflicts about citizenship, class culture, and democracy during the New Deal./div |
| eric lott love and theft: Blackface Minstrelsy in Britain Michael Pickering, 2017-07-05 Blackface minstrelsy is associated particularly with popular culture in the United States and Britain, yet despite the continual two-way flow of performers, troupes and companies across the Atlantic, there is little in Britain to match the scholarship of blackface studies in the States. This book concentrates on the distinctively British trajectory of minstrelsy. The historical study and cultural analysis of minstrelsy is important because of the significant role it played in Britain as a form of song, music and theatrical entertainment. Minstrelsy had a marked impact on popular music, dance and other aspects of popular culture, both in Britain and the United States. Its impact in the United States fed into significant song and music genres that were assimilated in Britain, from ragtime and jazz onwards, but prior to these influences, minstrelsy in Britain developed many distinct features and was adapted to operate within various conventions, themes and traditions in British popular culture. Pickering provides a convincing counter-argument to the assumption among writers in the United States that blackface was exclusively American and its British counterpart purely imitative. Minstrelsy was not confined to its value as song, music and dance. Jokes at the expense of black people along with demeaning racial stereotypes were integral to minstrel shows. As a form of popular entertainment, British minstrelsy created a cultural low-Other that offered confirmation of white racial ascendancy and imperial dominion around the world. The book attends closely to how this influence on colonialism and imperialism operated and proved ideologically so effective. At the same time British minstrelsy cannot be reduced to its racist and imperialist connections. Enormously important as those connections are, Pickering demonstrates the complexity of the subject by insisting that the minstrel show and minstrel performers are understood also in terms of their own theatrical dynamics, t |
| eric lott love and theft: The Blackface Minstrel Show in Mass Media Tim Brooks, 2019-11-22 The minstrel show occupies a complex and controversial space in the history of American popular culture. Today considered a shameful relic of America's racist past, it nonetheless offered many black performers of the 19th and early 20th centuries their only opportunity to succeed in a white-dominated entertainment world, where white performers in blackface had by the 1830s established minstrelsy as an enduringly popular national art form. This book traces the often overlooked history of the modern minstrel show through the advent of 20th century mass media--when stars like Al Jolson, Bing Crosby and Mickey Rooney continued a long tradition of affecting black music, dance and theatrical styles for mainly white audiences--to its abrupt end in the 1950s. A companion two-CD reissue of recordings discussed in the book is available from Archeophone Records at www.archeophone.com. |
| eric lott love and theft: Unfaithful Music & Disappearing Ink Elvis Costello, 2015 A personal introspective by the influential pop songwriter and performer traces his Liverpool upbringing, artistic influences, creative pursuit of original punk sounds, and emergence in the MTV world,--NoveList. |
| eric lott love and theft: Blackface Cuba, 1840-1895 Jill Lane, 2005-06-22 This is a critical history of the relation between racial impersonation, national sentiment, and the emergence of an anticolonial public sphere in 19th century Cuba. |
| eric lott love and theft: The Wages of Whiteness David R. Roediger, 2022-11-22 Combining classical Marxism, psychoanalysis, and the new labor history pioneered by E. P. Thompson and Herbert Gutman, David Roediger’s widely acclaimed book provides an original study of the formative years of working-class racism in the United States. This, he argues, cannot be explained simply with reference to economic advantage; rather, white working-class racism is underpinned by a complex series of psychological and ideological mechanisms that reinforce racial stereotypes, and thus help to forge the identities of white workers in opposition to Blacks. |
| eric lott love and theft: The End of Cinema as We Know it Jon Lewis, 2001-12 Thirty-four essays that take a serious look at the state of modern cinema Almost half a century ago, Jean-Luc Godard famously remarked, I await the end of cinema with optimism. Lots of us have been waiting forand wondering aboutthis prophecy ever since. The way films are made and exhibited has changed significantly. Films, some of which are not exactly films anymore, can now be projected in a wide variety of wayson screens in revamped high tech theaters, on big, high-resolution TVs, on little screens in minivans and laptops. But with all this new gear, all these new ways of viewing films, are we necessarily getting different, better movies? The thirty-four brief essays in The End of Cinema as We Know It attend a variety of topics, from film censorship and preservation to the changing structure and status of independent cinemafrom the continued importance of celebrity and stardom to the sudden importance of alternative video. While many of the contributors explore in detail the pictures that captured the attention of the nineties film audience, such as Jurassic Park, Eyes Wide Shut, South Park: Bigger, Longer and Uncut, The Wedding Banquet, The Matrix, Independence Day, Gods and Monsters, The Nutty Professor, and Kids, several essays consider works that fall outside the category of film as it is conventionally definedthe home movie of Pamela Anderson and Tommy Lee's honeymoon and the amateur video of the LAPD beating of Rodney King. Examining key films and filmmakers, the corporate players and industry trends, film styles and audio-visual technologies, the contributors to this volume spell out the end of cinema in terms of irony, cynicism and exhaustion, religious fundamentalism and fanaticism, and the decline of what we once used to call film culture. Contributors include: Paul Arthur, Wheeler Winston Dixon, Thomas Doherty, Thomas Elsaesser, Krin Gabbard, Henry Giroux, Heather Hendershot, Jan-Christopher Hook, Alexandra Juhasz, Charles Keil, Chuck Klienhans, Jon Lewis, Eric S. Mallin, Laura U. Marks, Kathleen McHugh, Pat Mellencamp, Jerry Mosher, Hamid Naficy, Chon Noriega, Dana Polan, Murray Pomerance, Hillary Radner, Ralph E. Rodriguez, R.L. Rutsky, James Schamus, Christopher Sharrett, David Shumway, Robert Sklar, Murray Smith, Marita Sturken, Imre Szeman, Frank P. Tomasulo, Maureen Turim, Justin Wyatt, and Elizabeth Young. |
| eric lott love and theft: Yellowface Krystyn R. Moon, 2005 Imagining China: early nineteenth-century writings and musical productions -- Towards exclusion: American popular songs on Chinese immigration, 1850-1882 -- Chinese and Chinese immigrant performers on the American stage, 1830s-1920s -- The sounds of Chinese otherness and American popular music, 1880s-1920s -- From aversion to fascination: new lyrics and voices, 1880s-1920s -- The rise of Chinese and Chinese American vaudevillians, 1900s-1920s |
| eric lott love and theft: Darkest America: Black Minstrelsy from Slavery to Hip-Hop Yuval Taylor, Jake Austen, 2012-08-27 Investigates the origin and heyday of black minstrelsy, which in modern times is considered an embarrassment, and discusses whether or not the art form is actually still alive in the work of contemporary performers--from Dave Chappelle and Flavor Flav to Spike Lee. |
| eric lott love and theft: Blacking Up Robert C. Toll, 1974 From the Peter Neil Isaacs collection. |
| eric lott love and theft: Birth of an Industry Nicholas Sammond, 2015-09-11 In Birth of an Industry, Nicholas Sammond describes how popular early American cartoon characters were derived from blackface minstrelsy. He charts the industrialization of animation in the early twentieth century, its representation in the cartoons themselves, and how important blackface minstrels were to that performance, standing in for the frustrations of animation workers. Cherished cartoon characters, such as Mickey Mouse and Felix the Cat, were conceived and developed using blackface minstrelsy's visual and performative conventions: these characters are not like minstrels; they are minstrels. They play out the social, cultural, political, and racial anxieties and desires that link race to the laboring body, just as live minstrel show performers did. Carefully examining how early animation helped to naturalize virulent racial formations, Sammond explores how cartoons used laughter and sentimentality to make those stereotypes seem not only less cruel, but actually pleasurable. Although the visible links between cartoon characters and the minstrel stage faded long ago, Sammond shows how important those links are to thinking about animation then and now, and about how cartoons continue to help to illuminate the central place of race in American cultural and social life. |
| eric lott love and theft: October Cities Carlo Rotella, 1998-05-21 Rotella does an extraordinary job of describing both the ideology of urban planning and its actual realization in the built environment, and he shows how cultural (literary) constructions of meaning simultaneously reflect and inform social reality.—Richard Slotkin, author of Gunfighter Nation A wonderful book, a wholly authoritative mapping of urban literature in the United States from the industrial city of the 1930s and 1940s to the post-industrial landscape of the 1960s. Fascinating and pathbreaking.—Eric Lott, author of Love and Theft |
| eric lott love and theft: Decolonising the Camera Mark Sealy, 2019 This book examines how Western photographic practice has been used as a tool for creating Eurocentric and violent visual regimes, and demands that we recognise and disrupt the ingrained racist ideologies that have tainted photography since its inception in 1839. Decolonising the Camera trains Mark Sealy's sharp critical eye on the racial politics at work within photography, in the context of heated discussions around race and representation, the legacies of colonialism, and the importance of decolonising the university. Sealy analyses a series of images within and against the violent political reality of Western imperialism, and aims to extract new meanings and develop new ways of seeing that bring the Other into focus. The book demonstrates that if we do not recognise the historical and political conjunctures of racial politics at work within photography, and their effects on those that have been culturally erased, made invisible or less than human by such images, then we remain hemmed within established orthodoxies of colonial thought concerning the racialised body, the subaltern and the politics of human recognition. With detailed analyses of photographs - included in an insert - by Alice Seeley Harris, Joy Gregory, Rotimi Fani-Kayode and others, and spanning more than 100 years of photographic history, Decolonising the Camera contains vital visual and written material for readers interested in photography, race, human rights and the effects of colonial violence. |
| eric lott love and theft: The Oxford Handbook of Music and Disability Studies Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, Joseph Straus, 2015-10-15 The Oxford Handbook of Disability Studies represents a comprehensive state of current research for the field of Disability Studies and Music. The forty-two chapters in the book span a wide chronological and geographical range, from the biblical, the medieval, and the Elizabethan, through the canonical classics of the eighteenth and nineteenth centuries, up to modernist styles and contemporary musical theater and popular genres, with stops along the way in post-Civil War America, Ghana and the South Pacific, and many other interesting times and places. Disability is a broad, heterogeneous, and porous identity, and that diversity is reflected in the variety of bodily conditions under discussion here, including autism and intellectual disability, deafness, blindness, mobility impairment often coupled with bodily difference, and cognitive and intellectual impairments. Amid this diversity of time, place, style, medium, and topic, the chapters share two core commitments. First, they are united in their theoretical and methodological connection to Disability Studies, especially its central idea that disability is a social and cultural construction. Disability both shapes and is shaped by culture, including musical culture. Second, these essays individually and collectively make the case that disability is not something at the periphery of culture and music, but something central to our art and to our humanity. |
| eric lott love and theft: Demons of Disorder Dale Cockrell, 1997-07-28 Carnival, charivari, mumming plays, peasant festivals, and even early versions of the Santa Claus myth--all of these forms of entertainment influenced and shaped blackface minstrelsy in the first half of the nineteenth century. In his fascinating study Demons of Disorder, musicologist Dale Cockrell studies issues of race and class by analyzing their cultural expressions, and investigates the roots of still-remembered songs such as Jim Crow, Zip Coon, and Dan Tucker. The first book on the blackface tradition written by a leading musicologist, Demons of Disorder is an important achievement in music history and culture. |
| eric lott love and theft: Sentimental Materialism Lori Merish, 2000 Examines the constructions of feminine consumption in the nineteenth century in relation to capitalism and domesticity. |
| eric lott love and theft: Cloudsplitter Russell Banks, 2011-08-10 A triumph of the imagination, rich in incident and beautiful in its detail, Cloudsplitter brings to life one of history's legendary figures--John Brown, whose passion to abolish slavery lit the fires of the American Civil War in a conflagration that changed civilization. |
| eric lott love and theft: Beyond the White Negro Kimberly Chabot Davis, 2014-06-23 Critics often characterize white consumption of African American culture as a form of theft that echoes the fantasies of 1950s-era bohemians, or White Negroes, who romanticized black culture as anarchic and sexually potent. In Beyond the White Negro, Kimberly Chabot Davis claims such a view fails to describe the varied politics of racial crossover in the past fifteen years. Davis analyzes how white engagement with African American novels, film narratives, and hip-hop can help form anti-racist attitudes that may catalyze social change and racial justice. Though acknowledging past failures to establish cross-racial empathy, she focuses on examples that show avenues for future progress and change. Her study of ethnographic data from book clubs and college classrooms shows how engagement with African American culture and pedagogical support can lead to the kinds of white self-examination that make empathy possible. The result is a groundbreaking text that challenges the trend of focusing on society's failures in achieving cross-racial empathy and instead explores possible avenues for change. |
| eric lott love and theft: Love and Death in the American Novel Leslie A. Fiedler, 1997 No other study of the American novel has such fascinating and on the whole right things to say. Washington Post |
| eric lott love and theft: Queen of Bebop Elaine M. Hayes, 2017-07-04 Publishers Weekly Best Book of 2017 Washington Post Best Book of 2017 Amazon Editors' Top 100 Pick of the Year Amazon Best Humor and Entertainment Pick of the Year Booklist Top Ten Arts Book Queen of Bebop brilliantly chronicles the life of jazz singer Sarah Vaughan, one of the most influential and innovative musicians of the twentieth century and a pioneer of women’s and civil rights Sarah Vaughan, a pivotal figure in the formation of bebop, influenced a broad array of singers who followed in her wake, yet the breadth and depth of her impact—not just as an artist, but also as an African-American woman—remain overlooked. Drawing from a wealth of sources as well as on exclusive interviews with Vaughan’s friends and former colleagues, Queen of Bebop unravels the many myths and misunderstandings that have surrounded Vaughan while offering insights into this notoriously private woman, her creative process, and, ultimately, her genius. Hayes deftly traces the influence that Vaughan’s singing had on the perception and appreciation of vocalists—not to mention women—in jazz. She reveals how, in the late 1940s and early 1950s, Vaughan helped desegregate American airwaves, opening doors for future African-American artists seeking mainstream success, while also setting the stage for the civil rights activism of the 1960s and 1970s. She follows Vaughan from her hometown of Newark, New Jersey, and her first performances at the Apollo, to the Waldorf Astoria and on to the world stage, breathing life into a thrilling time in American music nearly lost to us today. Equal parts biography, criticism, and good old-fashioned American success story, Queen of Bebop is the definitive biography of a hugely influential artist. This absorbing and sensitive treatment of a singular personality updates and corrects the historical record on Vaughan and elevates her status as a jazz great. |
| eric lott love and theft: Slavery and the Roman Literary Imagination William Fitzgerald, 2000-03-09 This book explores the presence of slaves and slavery in Roman literature and asks particularly what the free imagination made of the experience of living with slaves, beings who both were and were not fellow humans. As a shadow humanity, slaves furnished the free with other selves and imaginative alibis as well as mediators between and substitutes for their peers. As presences that witnessed their owners' most unguarded moments they possessed a knowledge that was the object of both curiosity and anxiety. The book discusses not only the ideological relations of Roman literature to the institution of slavery, but also the ways in which slavery provided a metaphor for a range of other relationships and experiences, and in particular for literature itself. It is arranged thematically and covers a broad chronological and generic field. |
| eric lott love and theft: From Jim Crow to Jay-Z Miles White, 2011-11-14 This multilayered study of the representation of black masculinity in musical and cultural performance takes aim at the reduction of African American male culture to stereotypes of deviance, misogyny, and excess. Broadening the significance of hip-hop culture by linking it to other expressive forms within popular culture, Miles White examines how these representations have both encouraged the demonization of young black males in the United States and abroad and contributed to the construction of their identities. From Jim Crow to Jay-Z traces black male representations to chattel slavery and American minstrelsy as early examples of fetishization and commodification of black male subjectivity. Continuing with diverse discussions including black action films, heavyweight prizefighting, Elvis Presley's performance of blackness, and white rappers such as Vanilla Ice and Eminem, White establishes a sophisticated framework for interpreting and critiquing black masculinity in hip-hop music and culture. Arguing that black music has undeniably shaped American popular culture and that hip-hop tropes have exerted a defining influence on young male aspirations and behavior, White draws a critical link between the body, musical sound, and the construction of identity. |
| eric lott love and theft: Exporting Jim Crow Chinua Thelwell, 2020 Based on the author's thesis (doctoral)--New York University, 2011. |
| eric lott love and theft: Encyclopedia of Emancipation and Abolition in the Transatlantic World Junius P. Rodriguez, 2015-03-26 The struggle to abolish slavery is one of the grandest quests - and central themes - of modern history. These movements for freedom have taken many forms, from individual escapes, violent rebellions, and official proclamations to mass organizations, decisive social actions, and major wars. Every emancipation movement - whether in Europe, Africa, or the Americas - has profoundly transformed the country and society in which it existed. This unique A-Z encyclopedia examines every effort to end slavery in the United States and the transatlantic world. It focuses on massive, broad-based movements, as well as specific incidents, events, and developments, and pulls together in one place information previously available only in a wide variety of sources. While it centers on the United States, the set also includes authoritative accounts of emancipation and abolition in Europe, Africa, the Caribbean, and Latin America. The Encyclopedia of Emancipation and Abolition provides definitive coverage of one of the most significant experiences in human history. It features primary source documents, maps, illustrations, cross-references, a comprehensive chronology and bibliography, and specialized indexes in each volume, and covers a wide range of individuals and the major themes and ideas that motivated them to confront and abolish slavery. |
| eric lott love and theft: African American Dance Barbara S. Glass, 2012-05-10 Africans brought as slaves to North America arrived without possessions, but not without culture. The fascinating elements of African life manifested themselves richly in the New World, and among the most lasting and influential of these was the art of African dance. This generously illustrated history follows the dynamics of African dance forms throughout each generation. Early chapters discuss the African continent and the heritage of African American dance; the discrimination and marginalization of African Americans and the fortitude with which their dance forms survived; and black dance in the slavery era and later in the nineteenth century. Remaining chapters outline ten major characteristics that have consistently marked African American dance, and describe the various styles of black vernacular dance that became popular in America. The book concludes with a discussion of African dance at the end of the twentieth century and its important role in the flowering of African American arts. Instructors considering this book for use in a course may request an examination copy here. |
| eric lott love and theft: Bob Dylan In America Sean Wilentz, 2011-02-15 A brilliantly written and groundbreaking book about Dylan's music – now the recipient of the Nobel Prize for Literature 2016 – and its musical, political and cultural roots in early 20th-century America Growing up in Greenwich Village in the 1960s Sean Wilentz discovered the music of Bob Dylan as a young teenager. Almost half a century later, now a distinguished professor of American history, he revisits Dylan's work with the critical skills of a scholar and the passion of a fan. Drawing partly on his work as the current historian-in-residence on Dylan's official website, Sean Wilentz provides a unique blend of biography, memoir and analysis in a book which, much like its subject, shifts gears and changes shape as the occasion demands. |
| eric lott love and theft: Race and the Subject of Masculinities Harry Stecopoulos, Michael Uebel, 1997 Although in recent years scholars have explored the cultural construction of masculinity, they have largely ignored the ways in which masculinity intersects with other categories of identity, particularly those of race and ethnicity. The essays in Race and the Subject of Masculinities address this concern and focus on the social construction of masculinity--black, white, ethnic, gay, and straight--in terms of the often complex and dynamic relationships among these inseparable categories. Discussing a wide range of subjects including the inherent homoeroticism of martial-arts cinema, the relationship between working-class ideologies and Elvis impersonators, the emergence of a gay, black masculine aesthetic in the works of James Van der Zee and Robert Mapplethorpe, and the comedy of Richard Pryor, Race and the Subject of Masculinities provides a variety of opportunities for thinking about how race, sexuality, and manhood are reinforced and reconstituted in today's society. Editors Harry Stecopoulos and Michael Uebel have gathered together essays that make clear how the formation of masculine identity is never as obvious as it might seem to be. Examining personas as varied as Eddie Murphy, Bruce Lee, Tarzan, Malcolm X, and Andre Gidé, these essays draw on feminist critique and queer theory to demonstrate how cross-identification through performance and spectatorship among men of different races and cultural backgrounds has served to redefine masculinity in contemporary culture. By taking seriously the role of race in the making of men, Race and the Subject of Masculinities offers an important challenge to the new studies of masculinity. Contributors. Herman Beavers, Jonathan Dollimore, Richard Dyer, Robin D. G. Kelly, Christopher Looby, Leerom Medovoi, Eric Lott, Deborah E. McDowell, José E. Muñoz, Harry Stecopoulos, Yvonne Tasker, Michael Uebel, Gayle Wald, Robyn Wiegman |
| eric lott love and theft: Ring Shout, Wheel About Katrina Dyonne Thompson, 2014-01-30 In this ambitious project, historian Katrina Thompson examines the conceptualization and staging of race through the performance, sometimes coerced, of black dance from the slave ship to the minstrel stage. Drawing on a rich variety of sources, Thompson explicates how black musical performance was used by white Europeans and Americans to justify enslavement, perpetuate the existing racial hierarchy, and mask the brutality of the domestic slave trade. Whether on slave ships, at the auction block, or on plantations, whites often used coerced performances to oppress and demean the enslaved. As Thompson shows, however, blacks' backstage use of musical performance often served quite a different purpose. Through creolization and other means, enslaved people preserved some native musical and dance traditions and invented or adopted new traditions that built community and even aided rebellion. Thompson shows how these traditions evolved into nineteenth-century minstrelsy and, ultimately, raises the question of whether today's mass media performances and depictions of African Americans are so very far removed from their troublesome roots. |
| eric lott love and theft: Soul by Soul Walter JOHNSON, 2009-06-30 Soul by Soul tells the story of slavery in antebellum America by moving away from the cotton plantations and into the slave market itself, the heart of the domestic slave trade. Taking us inside the New Orleans slave market, the largest in the nation, where 100,000 men, women, and children were packaged, priced, and sold, Walter Johnson transforms the statistics of this chilling trade into the human drama of traders, buyers, and slaves, negotiating sales that would alter the life of each. What emerges is not only the brutal economics of trading but the vast and surprising interdependencies among the actors involved. |
| eric lott love and theft: Behind the Burnt Cork Mask William John Mahar, 1999 The songs, dances, jokes, parodies, spoofs, and skits of blackface groups such as the Virginia Minstrels and Buckley's Serenaders became wildly popular in antebellum America. Drawing on an unprecedented archival study of playbills, newspapers, sketches, monologues, and music, William J. Mahar explores the racist practices of minstrel entertainers and considers their performances as troubled representations of ethnicity, class, gender, and culture in the nineteenth century. Mahar investigates the relationships between blackface comedy and other Western genres and traditions; between the music of minstrel shows and its European sources; and between popular and elite constructions of culture. Locating minstrel performances within their complex sites of production, Mahar reassesses the historiography of the field--Publisher's description. |
| eric lott love and theft: The Cambridge Companion to Shakespeare and Race Ayanna Thompson, 2021-02-25 The Cambridge Companion to Shakespeare and Race shows teachers and students how and why Shakespeare and race are inseparable. Moving well beyond Othello, the collection invites the reader to understand racialized discourses, rhetoric, and performances in all of Shakespeare's plays, including the comedies and histories. Race is presented through an intersectional approach with chapters that focus on the concepts of sexuality, lineage, nationality, and globalization. The collection helps students to grapple with the unique role performance plays in constructions of race by Shakespeare (and in Shakespearean performances), considering both historical and contemporary actors and directors. The Cambridge Companion to Shakespeare and Race will be the first book that truly frames Shakespeare studies and early modern race studies for a non-specialist, student audience. |
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Eric is a 2024 British psychological thriller television drama created by Abi Morgan for the streaming service Netflix. It stars Benedict Cumberbatch as a distraught puppeteer whose …
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1 day ago · Eric Dane shared an emotional update on his recent ALS diagnosis while appearing on Good Morning America. Dane, 52, sat down with Diane Sawyer for an interview that aired …
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ERIC is an internet-based digital library of education research and information sponsored by the Institute of Education Sciences (IES) of the U.S. Department of Education, providing access to …
ERIC - Education Resources Information Center
ERIC is an online library of education research and information, sponsored by the Institute of Education Sciences (IES) of the U.S. Department of Education.
Eric (TV series) - Wikipedia
Eric is a 2024 British psychological thriller television drama created by Abi Morgan for the streaming service Netflix. It stars Benedict Cumberbatch as a distraught puppeteer whose young son goes …
ERIC - EBSCO
ERIC (Education Resources Information Center) is an authoritative database of indexed and full-text education literature and resources. Sponsored by the Institute of Education Sciences of the U.S. …
Education Resource Information Center (ERIC) Documents
Feb 18, 2025 · ERIC (Education Resource Information Center), a freely available online library of education research and information sponsored by the Institute of Education Sciences of the U.S. …
ERIC (Educational Resources Information Center)
ERIC is a freely available, searchable, Internet-based bibliographic and full-text database of education research and information sponsored by the Institute of Education Sciences within the U.S. …
