The most personal writing yet to come from a noted scholar of race: a bold and moving look at race, gender, aging, and immigration that examines, through lenses both intimate and political, what it means to be an Asian American woman living in America today. Part memoir, part cultural criticism, part history, Anne Anlin Cheng’s original essays focus on art, politics, and popular culture. Through personal stories woven with a keen eye and an open heart, Cheng summons up the grief, love, anger, and humor in negotiating the realities of being a scholar, an immigrant Asian American woman, a cancer patient, a wife of a white man, and a mother of biracial children . . . all in the midst of the (extra)ordinary stresses of recent years. Ordinary Disasters explores with lyricism and surgical precision the often difficult-to-articulate consequences of race, gender, migration, and empire. It is the story of Chinese mothers and daughters, of race and nationality, of ambition and gender, of memory and forgetting, and the intricate ways in which we struggle for interracial and intergenerational intimacies in a world where there can be no seamless identity.
Focusing on the cultural and philosophic conflation between the "oriental" and the "ornamental," Ornamentalism offers an original and sustained theory about Asiatic femininity in western culture. This study pushes our vocabulary about the woman of color past the usual platitudes about objectification and past the critique of Orientalism in order to formulate a fresher and sharper understanding of the representation, circulation, and ontology of Asiatic femininity. This book alters the foundational terms of racialized femininity by allowing us to conceptualize race and gender without being solely beholden to flesh or skin. Tracing a direct link between the making of Asiatic femininity and a technological history of synthetic personhood in the West from the nineteenth to the twenty-first century, Ornamentalism demonstrates how the construction of modern personhood in the multiple realms of law, culture, and art has been surprisingly indebted to this very marginal figure and places Asian femininity at the center of an entire epistemology of race. Drawing from and speaking to the multiple fields of feminism, critical race theory, visual culture, performance studies, legal studies, Modernism, Orientalism, Object Studies and New Materialism, Ornamentalism will leave reader with a greater understanding of what it is to exist as a "person-thing" within the contradictions of American culture.
Cheng proposes that racial identification is itself already a melancholic act--a social category that is imaginatively supported through a dynamic of loss and compensation, by which the racial other is at once rejected and retained. Using psychoanalytic theories on mourning and melancholia as inroads into her subject, Cheng offers a closely observed and carefully reasoned account of the minority experience as expressed in works of art by, and about, Asian-Americans and African-Americans. She argues that the racial minority and dominant American culture both suffer from racial melancholia and that this insight is crucial to a productive reimagining of progressive politics.
Cheng proposes that racial identification is itself already a melancholic act--a social category that is imaginatively supported through a dynamic of loss and compensation, by which the racial other is at once rejected and retained. Using psychoanalytic theories on mourning and melancholia as inroads into her subject, Cheng offers a closely observed and carefully reasoned account of the minority experience as expressed in works of art by, and about, Asian-Americans and African-Americans. She argues that the racial minority and dominant American culture both suffer from racial melancholia and that this insight is crucial to a productive reimagining of progressive politics.
Focusing on the cultural and philosophic conflation between the "oriental" and the "ornamental," Ornamentalism offers an original and sustained theory about Asiatic femininity in western culture. This study pushes our vocabulary about the woman of color past the usual platitudes about objectification and past the critique of Orientalism in order to formulate a fresher and sharper understanding of the representation, circulation, and ontology of Asiatic femininity. This book alters the foundational terms of racialized femininity by allowing us to conceptualize race and gender without being solely beholden to flesh or skin. Tracing a direct link between the making of Asiatic femininity and a technological history of synthetic personhood in the West from the nineteenth to the twenty-first century, Ornamentalism demonstrates how the construction of modern personhood in the multiple realms of law, culture, and art has been surprisingly indebted to this very marginal figure and places Asian femininity at the center of an entire epistemology of race. Drawing from and speaking to the multiple fields of feminism, critical race theory, visual culture, performance studies, legal studies, Modernism, Orientalism, Object Studies and New Materialism, Ornamentalism will leave reader with a greater understanding of what it is to exist as a "person-thing" within the contradictions of American culture.
The most personal writing yet to come from a noted scholar of race: a bold and moving look at race, gender, aging, and immigration that examines, through lenses both intimate and political, what it means to be an Asian American woman living in America today. Part memoir, part cultural criticism, part history, Anne Anlin Cheng’s original essays focus on art, politics, and popular culture. Through personal stories woven with a keen eye and an open heart, Cheng summons up the grief, love, anger, and humor in negotiating the realities of being a scholar, an immigrant Asian American woman, a cancer patient, a wife of a white man, and a mother of biracial children . . . all in the midst of the (extra)ordinary stresses of recent years. Ordinary Disasters explores with lyricism and surgical precision the often difficult-to-articulate consequences of race, gender, migration, and empire. It is the story of Chinese mothers and daughters, of race and nationality, of ambition and gender, of memory and forgetting, and the intricate ways in which we struggle for interracial and intergenerational intimacies in a world where there can be no seamless identity.
Previous work discussing Black beauty has tended to concentrate on Black women's search for white beauty as a consequence of racialization. Without denying either the continuation of such aesthetics or their enduring power, this book uncovers the cracks in this hegemonic Black beauty. Drawing on detailed ethnographic research amongst British women of Caribbean heritage, this volume pursues a broad discussion of beauty within the Black diaspora contexts of the Caribbean, the UK, the United States and Latin America through different historical periods to the present day. With a unique exploration of beauty, race and identity politics, the author reveals how Black women themselves speak about, negotiate, inhabit, work on and perform Black beauty. As such, it will appeal not only to sociologists, but anyone working in the fields of race, ethnicity and post-colonial thought, feminism and the sociology of the body.
How could liberalism and apartheid coexist for decades in our country, as they did during the first half of the twentieth century? This study looks at works by such writers as Thomas Dixon, Erskine Caldwell, Zora Neale Hurston, William Faulkner, and Ralph Ellison to show how representations of time in southern narrative first accommodated but finally elucidated the relationship between these two political philosophies. Although racial segregation was codified by U.S. law, says Leigh Anne Duck, nationalist discourse downplayed its significance everywhere but in the South, where apartheid was conceded as an immutable aspect of an anachronistic culture. As the nation modernized, the South served as a repository of the country's romantic notions: the region was represented as a close-knit, custom-bound place through which the nation could temper its ambivalence about the upheavals of progress. The Great Depression changed this. Amid economic anxiety and the international rise of fascism, writes Duck, "the trope of the backward South began to comprise an image of what the United States could become." As she moves from the Depression to the nascent years of the civil rights movement to the early cold war era, Duck explains how experimental writers in each of these periods challenged ideas of a monolithically archaic South through innovative representations of time. She situates their narratives amid broad concern regarding national modernization and governance, as manifest in cultural and political debates, sociological studies, and popular film. Although southern modernists' modes and methods varied along this trajectory, their purpose remained focused: to explore the mutually constitutive relationships between social forms considered "southern" and "national.
Introducing the concept of ‘multicultural intimacies’, this book offers a new form of critical engagement with the cultural politics of multiculturalism, one that attends to ideals of mixing, loving thy neighbour and feelings for the nation. In the first study of its kind, Fortier considers the anxieties, desires, and issues that form representations of ‘multicultural Britain’ available in the public domain.
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