Challenging the increasingly popular argument that blacks should settle down, stop whining, and get jobs, Skin Trade insists that racism remains America's premier national story and its grossest national product. From Aunt Jemima Pancakes to ethnic Barbie dolls, Ann duCille explains, corporate America peddles racial and gender stereotypes.
Challenging the increasingly popular argument that blacks should settle down, stop whining, and get jobs, Skin Trade insists that racism remains America's premier national story and its grossest national product. From Aunt Jemima Pancakes to ethnic Barbie dolls, Ann duCille explains, corporate America peddles racial and gender stereotypes.
What does the tradition of marriage mean for people who have historically been deprived of its legal status? Generally thought of as a convention of the white middle class, the marriage plot has received little attention from critics of African-American literature. In this study, Ann duCille uses texts such as Nella Larsen's Quicksand (1928) and Zora Neale Hurston's Their Eyes Were Watching God (1937) to demonstrate that the African-American novel, like its European and Anglo-American counterparts, has developed around the marriage plot--what she calls "the coupling convention." Exploring the relationship between racial ideology and literary and social conventions, duCille uses the coupling convention to trace the historical development of the African-American women's novel. She demonstrates the ways in which black women appropriated this novelistic device as a means of expressing and reclaiming their own identity. More than just a study of the marriage tradition in black women's fiction, however, The Coupling Convention takes up and takes on many different meanings of tradition. It challenges the notion of a single black literary tradition, or of a single black feminist literary canon grounded in specifically black female language and experience, as it explores the ways in which white and black, male and female, mainstream and marginalized "traditions" and canons have influenced and cross-fertilized each other. Much more than a period study, The Coupling Convention spans the period from 1853 to 1948, addressing the vital questions of gender, subjectivity, race, and the canon that inform literary study today. In this original work, duCille offers a new paradigm for reading black women's fiction.
Examines how postfeminism and postracialism intersect to perpetuate systemic injustice in the United States. Historicizing Post-Discourses explores how postfeminism and postracialism intersect in dominant narratives of triumphalism, white male crisis, neoliberal and colonial feminism, and multiculturalism to perpetuate systemic injustice in America. By examining various locations within popular culture, including television shows such as Mad Men and The Wire; books such as The Help and Lean In; as well as Hollywood films, fan forums, political blogs, and presidential speeches, Tanya Ann Kennedy demonstrates the dominance of postfeminism and postracialism in US culture. In addition, she shows how post-discourses create affective communities through their engineering of the history of both race and gender justice. This book makes a welcome contribution to both feminist media studies and critical race studies by addressing a crucial and often overlooked discursive intersection of contemporary cultural life, where postfeminism meets postracial discourse. The scholarship is conceptually sophisticated, critically informed, and intellectually robust. Hannah Hamad, author of Postfeminism and Paternity in Contemporary U.S. Film: Framing Fatherhood
What does the tradition of marriage mean for people who have historically been deprived of its legal status? Generally thought of as a convention of the white middle class, the marriage plot has received little attention from critics of African-American literature. In this study, Ann duCille uses texts such as Nella Larsen's Quicksand (1928) and Zora Neale Hurston's Their Eyes Were Watching God (1937) to demonstrate that the African-American novel, like its European and Anglo-American counterparts, has developed around the marriage plot--what she calls "the coupling convention." Exploring the relationship between racial ideology and literary and social conventions, duCille uses the coupling convention to trace the historical development of the African-American women's novel. She demonstrates the ways in which black women appropriated this novelistic device as a means of expressing and reclaiming their own identity. More than just a study of the marriage tradition in black women's fiction, however, The Coupling Convention takes up and takes on many different meanings of tradition. It challenges the notion of a single black literary tradition, or of a single black feminist literary canon grounded in specifically black female language and experience, as it explores the ways in which white and black, male and female, mainstream and marginalized "traditions" and canons have influenced and cross-fertilized each other. Much more than a period study, The Coupling Convention spans the period from 1853 to 1948, addressing the vital questions of gender, subjectivity, race, and the canon that inform literary study today. In this original work, duCille offers a new paradigm for reading black women's fiction.
Pioneering African American journalist Ida B. Wells-Barnett (1862-1931) is widely remembered for her courageous antilynching crusade in the 1890s; the full range of her struggles against injustice is not as well known. With this book, Patricia Schechter r
In nineteenth- and early twentieth-century artist novels, American women writers challenge cultural, social, and legal systems that attempt to limit or diminish women’s embodied capabilities outside of the domestic. Women writers such as E.D.E.N. Southworth, Elizabeth Stuart Phelps, Kate Chopin, Willa Cather, Jessie Fauset, and Zelda Fitzgerald use the artist novel to highlight the structural and material limitations that women artists face when attempting to achieve critical success while navigating inequitable marriages and social codes that restrict women’s mobility, education, and pursuit of vocation. These artist-rebel protagonists find that their very bodies demand an outlet to articulate desires that defy patriarchal rhetoric, and this demand becomes an artistic drive to express an embodied knowledge through artistic invention. Ultimately, these women writers empower their heroines to move beyond prescribed patriarchal identities in order to achieve autonomous subjectivity through their artistic development, challenging stereotypes surrounding gender, race, and ability and beginning to reshape cultural notions of marriage, motherhood, and artistry at the turn of the twentieth century.
Dirty Work sheds light on the complex relationships between women employers and their household help in the early twentieth century through their representations in literature, including women’s magazines, conduct manuals, and particularly female-authored fiction. Domestic service brought together women from different classes, races, and ethnicities, and with it, a degree of social anxiety as upwardly mobile young women struggled to construct their identities in a changing world. The book focuses on the works of Charlotte Perkins Gilman, Edith Wharton, Gertrude Stein, Nella Larsen, Jessie Fauset, Anzia Yezierska, and Fannie Hurst and their various depictions of the maid/mistress relationship, revealing “a feminized and racialized brand of class hegemony.” Modern servants became configured as racial, hygienic, and social threats to the emergent ideal of the nuclear family, and played critical rhetorical roles in first-wave feminism and the New Negro movements. Ann Mattis reveals how U.S. domestic service was the political unconscious of cultural narratives that attempted to define modern domesticity and progressive femininity in monolithic terms.
Link Williams is a handsome and brilliant Dartmouth graduate who tends bar due to the lack of better opportunities for an African American man in a staid mid-century Connecticut town. The routine of Link’s life is interrupted when he intervenes to save a woman from a late-night attack. Drinking in a bar together after the incident, “Camilo” discovers that her rescuer is African American and he learns that she is white. Unbeknownst to him, “Camilo” (actually Camilla Treadway Sheffield) is a wealthy married woman who has crossed the town’s racial divide to relieve the tedium of her life. Thus brought together by chance, Link and Camilla draw each other into furtive encounters that violate the rigid and uncompromising social codes of their own town and times. As The Narrows sweeps ahead to its shattering denouement, Petry shines a harsh yet richly truthful light on the deforming harm that race and class wreak on human lives. In a fascinating introduction to this new edition, Keith Clark discusses the prescience with which Petry chronicled the ways tabloid journalism, smug elitism, and mob mentality distort and demonize African American men.
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