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Author: Glenda Carpio
Publisher: OUP USA
ISBN: 0195304705
Category : Humor
Languages : en
Pages : 302
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Book Description
Reassessing the meanings of "black humor" and "dark satire," Laughing Fit to Kill illustrates how black comedians, writers, and artists have deftly deployed various modes of comedic "conjuring"--the absurd, the grotesque, and the strategic expression of racial stereotypes--to redress not only the past injustices of slavery and racism in America but also their legacy in the present. Focusing on representations of slavery in the post-civil rights era, Carpio explores stereotypes in Richard Pryor's groundbreaking stand-up act and the outrageous comedy of Chappelle's Show to demonstrate how deeply indebted they are to the sly social criticism embedded in the profoundly ironic nineteenth-century fiction of William Wells Brown and Charles W. Chesnutt. Similarly, she reveals how the iconoclastic literary works of Ishmael Reed and Suzan-Lori Parks use satire, hyperbole, and burlesque humor to represent a violent history and to take on issues of racial injustice. With an abundance of illustrations, Carpio also extends her discussion of radical black comedy to the visual arts as she reveals how the use of subversive appropriation by Kara Walker and Robert Colescott cleverly lampoons the iconography of slavery. Ultimately, Laughing Fit to Kill offers a unique look at the bold, complex, and just plain funny ways that African American artists have used laughter to critique slavery's dark legacy.
Author: Glenda Carpio
Publisher: OUP USA
ISBN: 0195304705
Category : Humor
Languages : en
Pages : 302
Get Book Here
Book Description
Reassessing the meanings of "black humor" and "dark satire," Laughing Fit to Kill illustrates how black comedians, writers, and artists have deftly deployed various modes of comedic "conjuring"--the absurd, the grotesque, and the strategic expression of racial stereotypes--to redress not only the past injustices of slavery and racism in America but also their legacy in the present. Focusing on representations of slavery in the post-civil rights era, Carpio explores stereotypes in Richard Pryor's groundbreaking stand-up act and the outrageous comedy of Chappelle's Show to demonstrate how deeply indebted they are to the sly social criticism embedded in the profoundly ironic nineteenth-century fiction of William Wells Brown and Charles W. Chesnutt. Similarly, she reveals how the iconoclastic literary works of Ishmael Reed and Suzan-Lori Parks use satire, hyperbole, and burlesque humor to represent a violent history and to take on issues of racial injustice. With an abundance of illustrations, Carpio also extends her discussion of radical black comedy to the visual arts as she reveals how the use of subversive appropriation by Kara Walker and Robert Colescott cleverly lampoons the iconography of slavery. Ultimately, Laughing Fit to Kill offers a unique look at the bold, complex, and just plain funny ways that African American artists have used laughter to critique slavery's dark legacy.
Author: Glenda Carpio
Publisher: Oxford University Press
ISBN: 0199719543
Category : Literary Criticism
Languages : en
Pages : 302
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Book Description
Reassessing the meanings of "black humor" and "dark satire," Laughing Fit to Kill illustrates how black comedians, writers, and artists have deftly deployed various modes of comedic "conjuring"--the absurd, the grotesque, and the strategic expression of racial stereotypes--to redress not only the past injustices of slavery and racism in America but also their legacy in the present. Focusing on representations of slavery in the post-civil rights era, Carpio explores stereotypes in Richard Pryor's groundbreaking stand-up act and the outrageous comedy of Chappelle's Show to demonstrate how deeply indebted they are to the sly social criticism embedded in the profoundly ironic nineteenth-century fiction of William Wells Brown and Charles W. Chesnutt. Similarly, she reveals how the iconoclastic literary works of Ishmael Reed and Suzan-Lori Parks use satire, hyperbole, and burlesque humor to represent a violent history and to take on issues of racial injustice. With an abundance of illustrations, Carpio also extends her discussion of radical black comedy to the visual arts as she reveals how the use of subversive appropriation by Kara Walker and Robert Colescott cleverly lampoons the iconography of slavery. Ultimately, Laughing Fit to Kill offers a unique look at the bold, complex, and just plain funny ways that African American artists have used laughter to critique slavery's dark legacy.
Author: John Brooks
Publisher: Columbia University Press
ISBN: 0231555806
Category : Literary Criticism
Languages : en
Pages : 451
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Book Description
The works of African American authors and artists are too often interpreted through the lens of authenticity. They are scrutinized for “positive” or “negative” representations of Black people and Black culture or are assumed to communicate some truth about Black identity or the “Black experience.” However, many contemporary Black artists are creating works that cannot be slotted into such categories. Their art resists interpretation in terms of conventional racial discourse; instead, they embrace opacity, uncertainty, and illegibility. John Brooks examines a range of abstractionist, experimental, and genre-defying works by Black writers and artists that challenge how audiences perceive and imagine race. He argues that literature and visual art that exceed the confines of familiar conceptions of Black identity can upend received ideas about race and difference. Considering photography by Roy DeCarava, installation art by Kara Walker, novels by Percival Everett and Paul Beatty, drama by Suzan-Lori Parks, and poetry by Robin Coste Lewis, Brooks pinpoints a shared aesthetic sensibility. In their works, the devices that typically make race feel familiar are instead used to estrange cultural assumptions about race. Brooks contends that when artists confound expectations about racial representation, the resulting disorientation reveals the incoherence of racial ideologies. By showing how contemporary literature and art ask audiences to question what they think they know about race, The Racial Unfamiliar offers a new way to understand African American cultural production.
Author: Soyica Diggs Colbert
Publisher: Rutgers University Press
ISBN: 0813583977
Category : Social Science
Languages : en
Pages : 399
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Book Description
What would it mean to “get over slavery”? Is such a thing possible? Is it even desirable? Should we perceive the psychic hold of slavery as a set of mental manacles that hold us back from imagining a postracist America? Or could the psychic hold of slavery be understood as a tool, helping us get a grip on the systemic racial inequalities and restricted liberties that persist in the present day? Featuring original essays from an array of established and emerging scholars in the interdisciplinary field of African American studies, The Psychic Hold of Slavery offers a nuanced dialogue upon these questions. With a painful awareness that our understanding of the past informs our understanding of the present—and vice versa—the contributors place slavery’s historical legacies in conversation with twenty-first-century manifestations of antiblack violence, dehumanization, and social death. Through an exploration of film, drama, fiction, performance art, graphic novels, and philosophical discourse, this volume considers how artists grapple with questions of representation, as they ask whether slavery can ever be accurately depicted, trace the scars that slavery has left on a traumatized body politic, or debate how to best convey that black lives matter. The Psychic Hold of Slavery thus raises provocative questions about how we behold the historically distinct event of African diasporic enslavement and how we might hold off the transhistorical force of antiblack domination.
Author: Carson McCullers
Publisher: DigiCat
ISBN:
Category : Fiction
Languages : en
Pages : 189
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Book Description
The story is set in a small town of Georgia, a disparate bunch of people come together under court-ordered integration. What follows is unique blend of humour, power, irony, and love. Excerpt: "Death is always the same, but each man dies in his own way. For J.T. Malone it began in such a simple ordinary way that for a time he confused the end of life with the beginning of a new season. The winter of his fortieth year was an unusually cold one for the Southern town—with icy, pastel days and radiant nights. The spring came violently in middle March in that year of 1953, and Malone was lazy and peaked during those days of early blossoms and windy skies."
Author: Terri Simone Francis
Publisher: Indiana University Press
ISBN: 0253052173
Category : Biography & Autobiography
Languages : en
Pages : 243
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Book Description
A history and in-depth analysis of the film career of the iconic Black star, activist, and French military intelligence agent. Josephine Baker, the first Black woman to star in a major motion picture, was both liberated and delightfully undignified, playfully vacillating between allure and colonialist stereotyping. Nicknamed the “Black Venus,” “Black Pearl,” and “Creole Goddess,” Baker blended the sensual and the comedic when taking 1920s Europe by storm. Back home in the United States, Baker’s film career brought hope to the Black press that a new cinema centered on Black glamour would come to fruition. In Josephine Baker’s Cinematic Prism, Terri Simone Francis examines how Baker fashioned her celebrity through cinematic reflexivity, an authorial strategy in which she placed herself, her persona, and her character into visual dialogue. Francis contends that though Baker was an African American actress who lived and worked in France exclusively with a white film company, white costars, white writers, and white directors, she holds monumental significance for African American cinema as the first truly global Black woman film star. Francis also examines the double-talk between Baker and her characters in Le Pompier de Folies Bergère, La Sirène des Tropiques, Zou Zou, Princesse Tam Tam, and The French Way, whose narratives seem to undermine the very stardom they offered. In doing so, Francis illuminates the most resonant links between emergent African American cinephilia, the diverse opinions of Baker in the popular press, and African Americans’ broader aspirations for progress toward racial equality. Examining an unexplored aspect of Baker’s career, Josephine Baker’s Cinematic Prism deepens the ongoing conversation about race, gender, and performance in the African diaspora.
Author: Anne Collett
Publisher: BRILL
ISBN: 9004376542
Category : Literary Criticism
Languages : en
Pages : 250
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Book Description
In Postcolonial Past & Present twelve outstanding scholars of literature, history and visual arts look to those spaces Epeli Hau’ofa has insisted are full not empty, asking what it might mean to Indigenise culture. A new cultural politics demands new forms of making and interpretation that rethink and reroute existing cultural categories and geographies. These ‘makers’ include Mukunda Das, Janet Frame, Xavier Herbert, Tomson Highway, Claude McKay, Marie Munkara, Elsje van Keppel, Albert Wendt, Jane Whiteley and Alexis Wright. Case studies from Canada to the Caribbean, India to the Pacific, and Africa, analyse the productive ways that artists and intellectuals have made sense of turbulent local and global forces. Contributors: Bill Ashcroft, Debnarayan Bandyopadhyay, Anne Brewster, Diana Brydon, Meeta Chatterjee—Padmanabhan, Anne Collett, Dorothy Jones, Kay Lawrence, Russell McDougall, Tekura Moeka’a, Tony Simões da Silva, Teresia Teaiwa, Albert Wendt, Lydia Wevers, Diana Wood Conroy
Author: Carson McCullers
Publisher: DigiCat
ISBN:
Category : Fiction
Languages : en
Pages : 557
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Book Description
McCullers was an American novelist, short-story writer, playwright, essayist, and poet. McCullers' work is often described as Southern Gothic and indicative of her southern roots. Critics also describe her writing and eccentric characters as universal in scope. Her stories have been adapted to stage and film. Contents: The Heart is a Lonely Hunter – A moving saga of the struggles of a lonely deaf man after his one and only mute-friend is consigned to a mental asylum. Clock Without Hands – A poignant re-examination of racial prejudices during the volatile 60s when a bunch of disparate people come together under court-ordered integration. Reflections in a Golden Eye – An intriguing tale of homosexuality, extra-marital affair, and unfulfilled desires inside the shrouded Army life.Private Ellgee Williams, a solitary man full of secrets and desires, has served for two years and is assigned to stable duty. After doing yard work at the home of Capt. Penderton, he sees the captain's wife nude and becomes obsessed with her. Capt. Penderton, as a closeted homosexual, realizes that he is physically attracted to Pvt. Williams, but remains unaware of the his attraction to his wife, Leonora. What will be the outcome of this love triangle? Who will win and who will lose?
Author: Delia Casadei
Publisher: Univ of California Press
ISBN: 0520391349
Category : Science
Languages : en
Pages : 232
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Book Description
A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Risible explores the forgotten history of laughter, from ancient Greece to the sitcom stages of Hollywood. Delia Casadei approaches laughter not as a phenomenon that can be accounted for by studies of humor and theories of comedy but rather as a technique of the human body, knowable by its repetitive, clipped, and proliferating sound and its enduring links to the capacity for language and reproduction. This buried genealogy of laughter re-emerges with explosive force thanks to the binding of laughter to sound reproduction technology in the late nineteenth century. Analyzing case studies ranging from the early global market for phonographic laughing songs to the McCarthy-era rise of prerecorded laugh tracks, Casadei convincingly demonstrates how laughter was central to the twentieth century’s development of the very category of sound as not-quite-human, unintelligible, reproductive, reproducible, and contagious.
Author: Marta Puxan-Oliva
Publisher: Routledge
ISBN: 0429638728
Category : Literary Collections
Languages : en
Pages : 447
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Book Description
How does racial ideology contribute to the exploration of narrative voice? How does narrative (un)reliability help in the production and critique of racial ideologies? Through a refreshing comparative analysis of well-established novels by Joseph Conrad, William Faulkner, James Weldon Johnson, Albert Camus and Alejo Carpentier, this book explores the racial politics of literary form. Narrative Reliability, Racial Conflicts and Ideology in the Modern Novel contributes to the emergent attention in literary studies to the interrelation of form and politics, which has been underexplored in narrative theory and comparative racial studies. Bridging cultural, postcolonial, racial studies and narratology, this book brings context specificity and awareness to the production of ideological, ambivalent narrative texts that, through technical innovation in narrative reliability, deeply engage with extremely violent episodes of colonial origin in the United Kingdom, the United States, Algeria, and the French and Spanish Caribbean. In this manner, the book reformulates and expands the problem of narrative reliability and highlights the key uses and production of racial discourses so as to reveal the participation of experimental novels in early and mid-20th century racial conflicts, which function as test case to display a broad, new area of study in cultural and political narrative theory.
