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Author: Kenneth W. Goings
Publisher:
ISBN:
Category : Antiques & Collectibles
Languages : en
Pages : 186
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Book Description
Mammy and Uncle Mose examines the production and consumption of black collectibles and memorabilia from the 1880s to the late 1950s. Black collectibles - objects made in or with the image of a black person - were everyday items such as advertising cards, housewares (salt and pepper shakers, cookie jars, spoon rests, etc.), toys and games, postcards, souvenirs, and decorative knick-knacks. These objects were almost universally derogatory, with racially exaggerated features that helped ""prove"" that African Americans were ""different"" and ""inferior."" These items of material culture were props that helped reinforce the ""new"" racist ideology that began emerging after Reconstruction. Then, as the nation changed, the images created of black people by white people changed. From the 1880s to the 1930s, black people were portrayed as very dark, bug-eyed, nappy-headed, childlike, stupid, lazy, deferential - but happy! From the 1930s to the late 1950s, racial attitudes shifted again: African Americans, while still portrayed as happy servants, had ""brighter"" skin tones, and images of black women were slimmed down. By contextualizing ""black collectibles"" within America's complex social history, Kenneth W. Goings has opened a fascinating perspective on American history.
Author: Kenneth W. Goings
Publisher:
ISBN:
Category : Antiques & Collectibles
Languages : en
Pages : 186
Get Book Here
Book Description
Mammy and Uncle Mose examines the production and consumption of black collectibles and memorabilia from the 1880s to the late 1950s. Black collectibles - objects made in or with the image of a black person - were everyday items such as advertising cards, housewares (salt and pepper shakers, cookie jars, spoon rests, etc.), toys and games, postcards, souvenirs, and decorative knick-knacks. These objects were almost universally derogatory, with racially exaggerated features that helped ""prove"" that African Americans were ""different"" and ""inferior."" These items of material culture were props that helped reinforce the ""new"" racist ideology that began emerging after Reconstruction. Then, as the nation changed, the images created of black people by white people changed. From the 1880s to the 1930s, black people were portrayed as very dark, bug-eyed, nappy-headed, childlike, stupid, lazy, deferential - but happy! From the 1930s to the late 1950s, racial attitudes shifted again: African Americans, while still portrayed as happy servants, had ""brighter"" skin tones, and images of black women were slimmed down. By contextualizing ""black collectibles"" within America's complex social history, Kenneth W. Goings has opened a fascinating perspective on American history.
Author: Meredith McCarroll
Publisher: University of Georgia Press
ISBN: 0820353361
Category : Performing Arts
Languages : en
Pages : 173
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Book Description
Appalachia resides in the American imagination at the intersections of race and class in a very particular way, in the tension between deep historic investments in seeing the region as "pure white stock" and as deeply impoverished and backward. Meredith McCarroll's Unwhite analyzes the fraught location of Appalachians within the southern and American imaginaries, building on studies of race in literary and cinematic characterizations of the American South. Not only do we know what "rednecks" and "white trash" are, McCarroll argues, we rely on the continued use of such categories in fashioning our broader sense of self and other. Further, we continue to depend upon the existence of the region of Appalachia as a cultural construct. As a consequence, Appalachia has long been represented in the collective cultural history as the lowest, the poorest, the most ignorant, and the most laughable community. McCarroll complicates this understanding by asserting that white privilege remains intact while Appalachia is othered through reliance on recognizable nonwhite cinematic stereotypes. Unwhite demonstrates how typical characterizations of Appalachian people serve as foils to set off and define the "whiteness" of the non-Appalachian southerners. In this dynamic, Appalachian characters become the racial other. Analyzing the representation of the people of Appalachia in films such as Deliverance, Cold Mountain, Medium Cool, Norma Rae, Cape Fear, The Killing Season, and Winter's Bone through the critical lens of race and specifically whiteness, McCarroll offers a reshaping of the understanding of the relationship between racial and regional identities.
Author: Nagueyalti Warren
Publisher: LSU Press
ISBN: 9780807125083
Category : Literary Criticism
Languages : en
Pages : 260
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Book Description
Southern Mothers, a collection of critical essays by prominent southern literary scholars, examines the significance of motherhood in southern fiction. The belle, the mammy, religion, and racism are several of the distinctive threads with which southern women writers have woven the fabric of their stories. Bringing southern motherhood into focus -- with all its peculiarities of attitude and tradition -- the essays speak to both the established and the unconventional modes of motherhood that are typical in southern writing and probe the extent to which southern women writers have rejected or embraced, supported or challenged the individual, social, and cultural understanding and institution of motherhood.
Author: ANNIE FELLOWS JOHNSTON
Publisher:
ISBN:
Category :
Languages : en
Pages : 152
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Book Description
Author: Barbara Harris Combs
Publisher: University of Georgia Press
ISBN: 0820362379
Category : Social Science
Languages : en
Pages : 297
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Book Description
Bodies out of Place asserts that anti-Black racism is not better than it used to be; it is just performed in more-nuanced ways. Barbara Harris Combs argues that racism is dynamic, so new theories are needed to help expose it. The Bodies-out-of-Place (BOP) theory she advances in the book offers such a corrective lens. Interrogating several recent racialized events—the Central Park birding incident, the killing of Ahmaud Arbery, sleeping while Black occurrences, and others—Combs demonstrates how the underlying belief that undergirds each encounter is a false presumption that Black bodies in certain contexts are out of place. Within these examples she illustrates how, even amid professions to color-blindness, fixed attitudes about where Black bodies belong, in what positions, at what time, and with whom still predominate. Combs describes a long historical pattern of White pushback against Black advancement and illuminates how each of the various forms of pushback is aimed at social control and regulation of Black bodies. She describes overt and covert attempts to push Black bodies back into their presumed place in U.S. society. While the pushback takes many forms, each works to paint a narrative to justify, rationalize, and excuse continuing violence against Black bodies. Equally important, Combs celebrates the resilient Black agency that has resisted this subjugation.
Author: Jo-Ann Morgan
Publisher: University of Missouri Press
ISBN: 082621715X
Category : Art
Languages : en
Pages : 242
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Book Description
"Examines the artwork of Hammatt Billings, George Cruikshank, Winslow Homer, Eastman Johnson, Henry Ossawa Tanner, and Thomas Satterwhite Noble to show how, as Uncle Tom's Cabin gained popularity, visual strategies were used to coax the subversive potential of Stowe's work back within accepted boundaries that reinforced social hierarchies"--Provided by publisher.
Author: Beverly Greene Bond
Publisher: University of Georgia Press
ISBN: 0820347558
Category : Biography & Autobiography
Languages : en
Pages : 440
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Book Description
The second volume of Tennessee Women: Their Lives and Times contains sixteen essays on Tennessee women in the forefront of the political, economic, and cultural history of the state and assesses the national and sometimes international scope of their influence. The essays examine women's lives in the broad sweep of nineteenth- and twentieth-century history in Tennessee and reenvision the state's past by placing them at the center of the historical stage and examining their experiences in relation to significant events. Together, volumes 1 and 2 cover women's activities from the early 1700s to the late 1900s. Volume 2 looks at antebellum issues of gender, race, and class; the impact of the Civil War on women's lives; parades and public celebrations as venues for displaying and challenging gender ideals; female activism on racial and gender issues; the impact of state legislation on marital rights; and the place of women in particular religious organizations. Together these essays reorient our views of women as agents of change in Tennessee history. Contributors: Beverly Greene Bond on African American women and slavery in Tennessee; Zanice Bond on Mildred Bond Roxborough and the NAACP; Frances Wright Breland on women's marital rights after the 1913 Married Women's Property Rights Act; Margaret Caffrey on Lide Meriwether; Gary T. Edwards on antebellum female plainfolk; Sarah Wilkerson Freeman on Tennessee's audacious white feminists, 1825-1910; M. Sharon Herbers on Lilian Wyckoff Johnson's legacy; Laura Mammina on Union soldiers and Confederate women in Middle Tennessee; Ann Youngblood Mulhearn on women, faith, and social justice in Memphis, 1950-1968; Kelli B. Nelson on East Tennessee United Daughters of the Confederacy, 1914-1931; Russell Olwell on the "Secret City" women of Oak Ridge, Tennessee, during World War II; Mary Ellen Pethel on education and activism in Nashville's African American community, 1870-1940; Cynthia Sadler on Memphis Mardi Gras, Cotton Carnival, and Cotton Makers' Jubilee; Sarah L. Silkey on Ida B. Wells; Antoinette G. van Zelm on women, emancipation, and freedom celebrations; Elton H. Weaver III on Church of God in Christ women in Tennessee, early 1900s-1950s.
Author: John T. Edge
Publisher: University of Georgia Press
ISBN: 0820346527
Category : Social Science
Languages : en
Pages : 400
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Book Description
The sixteen essays in The Larder argue that the study of food does not simply help us understand more about what we eat and the foodways we embrace. The methods and strategies herein help scholars use food and foodways as lenses to examine human experience. The resulting conversations provoke a deeper understanding of our overlapping, historically situated, and evolving cultures and societies. The Larder presents some of the most influential scholars in the discipline today, from established authorities such as Psyche Williams-Forson to emerging thinkers such as Rien T. Fertel, writing on subjects as varied as hunting, farming, and marketing, as well as examining restaurants, iconic dishes, and cookbooks. Editors John T. Edge, Elizabeth Engelhardt, and Ted Ownby bring together essays that demonstrate that food studies scholarship, as practiced in the American South, sets methodological standards for the discipline. The essayists ask questions about gender, race, and ethnicity as they explore issues of identity and authenticity. And they offer new ways to think about material culture, technology, and the business of food. The Larder is not driven by nostalgia. Reading such a collection of essays may not encourage food metaphors. "It's not a feast, not a gumbo, certainly not a home-cooked meal," Ted Ownby argues in his closing essay. Instead, it's a healthy step in the right direction, taken by the leading scholars in the field.
Author: Caroline E. Light
Publisher: NYU Press
ISBN: 1479854530
Category : History
Languages : en
Pages : 288
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Book Description
“It has ever been the boast of the Jewish people, that they support their own poor,” declared Kentucky attorney Benjamin Franklin Jonas in 1856. “Their reasons are partly founded in religious necessity, and partly in that pride of race and character which has supported them through so many ages of trial and vicissitude.” In That Pride of Race and Character, Caroline E. Light examines the American Jewish tradition of benevolence and charity and explores its southern roots. Light provides a critical analysis of benevolence as it was inflected by regional ideals of race and gender, showing how a southern Jewish benevolent empire emerged in response to the combined pressures of post-Civil War devastation and the simultaneous influx of eastern European immigration. In an effort to combat the voices of anti-Semitism and nativism, established Jewish leaders developed a sophisticated and cutting-edge network of charities in the South to ensure that Jews took care of those considered “their own” while also proving themselves to be exemplary white citizens. Drawing from confidential case files and institutional records from various southern Jewish charities, the book relates how southern Jewish leaders and their immigrant clients negotiated the complexities of “fitting in” in a place and time of significant socio-political turbulence. Ultimately, the southern Jewish call to benevolence bore the particular imprint of the region’s racial mores and left behind a rich legacy.
Author: Nikki A. Greene
Publisher: Duke University Press
ISBN: 1478059559
Category : Art
Languages : en
Pages : 220
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Book Description
In Grime, Glitter, and Glass, Nikki A. Greene examines how contemporary Black visual artists use sonic elements to refigure the formal and philosophical developments of Black art and culture. Focusing on the multimedia art of Renée Stout, Radcliffe Bailey, and María Magdalena Campos-Pons, Greene traces the intersection of the visual’s sonic possibilities with the Black body’s physical, representational, and metaphorical use in art. She employs her concept of “visual aesthetic musicality” to interpret Black visual art by examining the musical genres of jazz and rap along with the often-overlooked innovations of funk and rumba within art historiography. From Bailey’s use of multilayered surfaces of glitter, mud, and recycled materials to meditate on Sun Ra’s Afrofuturism to Stout’s life-sized cast of her own body that recalls funk musician Betty Davis to Campos-Pons’s performative and sculptural references to sugar that resonate with the legacy of Celia Cruz, Greene outlines how these artists use mediums such as molded glass sculptures, viscous wet plaster, and dazzling manikin heads to enhance the manifestations of Black identity. By foregrounding the sonic elements of their work, Greene demonstrates that these artists use sound to make themselves legible, recognizable, and audible.
