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- ISBN
- 0822329905
Über dieses Produkt
Product Identifiers
Publisher
Duke University Press
ISBN-10
0822329905
ISBN-13
9780822329909
eBay Product ID (ePID)
2290316
Product Key Features
Book Title
Beyond the Color Line and the Iron Curtain : Reading Encounters between Black and Red, 1922-1963
Number of Pages
277 Pages
Language
English
Topic
American / African American, Political Ideologies / Communism, Post-Communism & Socialism, Ethnic Studies / African American Studies
Publication Year
2002
Illustrator
Yes
Genre
Literary Criticism, Political Science, Social Science
Book Series
New Americanists Ser.
Format
Trade Paperback
Dimensions
Item Height
0.9 in
Item Weight
18.5 Oz
Item Length
8.9 in
Item Width
6.6 in
Additional Product Features
LCCN
2002-003974
Dewey Edition
21
Reviews
"Kate Baldwin's Beyond the Color Line and the Iron Curtain adds an invaluable new dimension to scholarship on African American artists and the Left, complicating notions of black internationalism beyond Paul Gilroy's influential diasporic blood and culture model of the Black Atlantic. . . . One of the great strengths of this study is Baldwin's groundbreaking research, drawing on recently opened Soviet archives. . . . She has also raised the bar for the quality and depth of research and research skills for students of the international dimensions of American Communism with respect to U.S. culture and politics."-James Smethurst, Comparative Literature"Beyond the Color Line and the Iron Curtain takes an impressive step toward establishing a new concept of the black transatlantic tradition-one that foregrounds the key role the Soviet Union played in the formation of black internationalism."-Ryan Schneider, Modern Fiction Studies"[T]he book's historical depth, border-crossing scope, analytic reach, and exposure of little-known but globally important texts make this a front-shelf selection. In its closing pages, the book's epilogue is terrifically smart and dazzlingly readable: should that style carry into Baldwin's future work she will be a force indeed."-David Chioni Moore, Research in African Literatures"[A] rewarding book that makes a major contribution to analyses of African-American political thinking between the 1920s and 1960s."-Sage Race Relations Abstracts"[A] provocative account of cultures in contact, a work opening new avenues of investigation that promises to expand working assumptions about the geography of the black Atlantic."-Keith Griffler, American Historical Review"By retrieving and rethinking 'routes of influence between Moscow, Tashkent, and Harlem,' Baldwin's volume will certainly have great significance for the future cross-cultural research of both the 'color line' and the East/West divide."-Vladimir Prozorov, American Studies International"The fresh comparative analysis of this final chapter is a characteristic strength of Baldwin's book throughout-she may well be the first serious critic of African American literary radicalism whose own Russian skills and travels have allowed her access to recently unsealed Soviet archives. . . . Baldwin's original and penetrating book is vital reading for Russianists interested in the far-flung appeal of Soviet internationalism, and for African Americanists seeking to map black transnationalisms outside the boundaries of Paul Gilroy's reigning Black Atlantic paradigm."-William J. Maxwell, Slavic Review"Kate A. Baldwin's linguistic mastery and direct use of Russian archives-including those of the Soviet state-afford Beyond the Color Line and the Iron Curtain intriguing comparisons between African American views of the Soviet Union and those of other literal and political 'fellow travelers' in search of Communism's revolutionary promise."-Judy Kutulas, Journal of American History"This provocative and highly original book breaks new ground in African American studies. The topic provides a treasure trove for the scholar seeking to glean important insights from African American and Russian test. . . . Part of [Baldwin's] accomplishment is to have established such a link and successfully explored it. . . . Baldwin revives the cultural logic of a lost world and provides a new way for contemporaries to think about democracy, race, and citizenship."-Brenda Gayle Plummer, Journal of African American History"In this important book, Baldwin's tenacious research provides readers with the means to reconstruct the neglected and, at times, deliberately suppressed story of the interaction between prominent black American visitors and the Soviet experiment in constructing a cross-racial model of international socialism. . . . [I]nnovative."-Dale E. Peterson, Slavic and East European JournalAbstract in American Literature. Listed in Yale Alumni Magazine and boundary 2., "In Beyond the Color Line and the Iron Curtain , Kate A. Baldwin has presented the hitherto ignored Soviet response to African American intellectuals and cultural workers. This is an invaluable resource for anyone who wants to understand the intellectual and political range of African America in the twentieth century."--Gayatri Chakravorty Spivak, author of A Critique of Postcolonial Reason: Toward a History of the Vanishing Present, "In Beyond the Color Line and the Iron Curtain , Kate A. Baldwin has presented the hitherto ignored Soviet response to African American intellectuals and cultural workers. This is an invaluable resource for anyone who wants to understand the intellectual and political range of African America in the twentieth century."-Gayatri Chakravorty Spivak, author of A Critique of Postcolonial Reason: Toward a History of the Vanishing Present, "A blockbuster study of the Soviet Union's significance for African American literary and cultural self-fashioning in the twentieth century, researched with an unusually daunting prodigiousness and conceived with a truly geopolitical theoretical intelligence. In attending to questions of travel, of political identities-in-formation, and of subjectivity's ever-changing subject, Beyond the Color Line and the Iron Curtain locates a dialectic of displacement in which an imaginary and actual elsewhere--in this case none other than post-revolutionary Russia--furnishes a space to rearticulate crucial aspects of social and cultural life at home."--Eric Lott, author of Love and Theft: Blackface Minstrelsy and the American Working Class, "A significant book that introduces the Soviet Union to the 'Black Atlantic' model of modernism. By examining the works of writers such as Du Bois, McKay, Hughes, and Robeson, the author explains the impact of the Soviet Union on African Americans. This kind of analysis is new-and vital-to literary studies."-Gerald Horne, author of Class Struggle in Hollywood, 1930-1950: Moguls, Mobsters, Stars, Reds, and Trade Unionists, "A significant book that introduces the Soviet Union to the 'Black Atlantic' model of modernism. By examining the works of writers such as Du Bois, McKay, Hughes, and Robeson, the author explains the impact of the Soviet Union on African Americans. This kind of analysis is new--and vital--to literary studies."--Gerald Horne, author of Class Struggle in Hollywood, 1930-1950: Moguls, Mobsters, Stars, Reds, and Trade Unionists, "A blockbuster study of the Soviet Union's significance for African American literary and cultural self-fashioning in the twentieth century, researched with an unusually daunting prodigiousness and conceived with a truly geopolitical theoretical intelligence. In attending to questions of travel, of political identities-in-formation, and of subjectivity's ever-changing subject, Beyond the Color Line and the Iron Curtain locates a dialectic of displacement in which an imaginary and actual elsewhere-in this case none other than post-revolutionary Russia-furnishes a space to rearticulate crucial aspects of social and cultural life at home."-Eric Lott, author of Love and Theft: Blackface Minstrelsy and the American Working Class, "A blockbuster study of the Soviet Union's significance for African American literary and cultural self-fashioning in the twentieth century, researched with an unusually daunting prodigiousness and conceived with a truly geopolitical theoretical intelligence. In attending to questions of travel, of political identities-in-formation, and of subjectivity's ever-changing subject, Beyond the Color Line and the Iron Curtain locates a dialectic of displacement in which an imaginary and actual elsewhere--in this case none other than post-revolutionary Russia--furnishes a space to rearticulate crucial aspects of social and cultural life at home."--Eric Lott, author of Love and Theft: Blackface Minstrelsy and the American Working Class "A significant book that introduces the Soviet Union to the 'Black Atlantic' model of modernism. By examining the works of writers such as Du Bois, McKay, Hughes, and Robeson, the author explains the impact of the Soviet Union on African Americans. This kind of analysis is new--and vital--to literary studies."--Gerald Horne, author of Class Struggle in Hollywood, 1930-1950: Moguls, Mobsters, Stars, Reds, and Trade Unionists "In Beyond the Color Line and the Iron Curtain , Kate A. Baldwin has presented the hitherto ignored Soviet response to African American intellectuals and cultural workers. This is an invaluable resource for anyone who wants to understand the intellectual and political range of African America in the twentieth century."--Gayatri Chakravorty Spivak, author of A Critique of Postcolonial Reason: Toward a History of the Vanishing Present
Dewey Decimal
810.9/3247/08996073
Table Of Content
Acknowledgments Introduction: The Demand for a New Kind of Person: Black Americans and the Soviet Union, 1922-1963 1. "Not at All God's White People": McKay and the Negro in Red 2. Between Harlem and Harlem: Hughes and the Ways of the Veil 3. Du Bois, Russia, and the "Refusal to Be 'White'" 4. Black Shadows across the Iron Curtain: Robeson's Stance between Cold War Cultures Epilogue: The Only Television Hostess Who Doesn't Turn Red Notes Bibliography Index
Synopsis
Examining the significant influence of the Soviet Union on the work of four major African American authors--and on twentieth-century American debates about race-- Beyond the Color Line and the Iron Curtain remaps black modernism, revealing the importance of the Soviet experience in the formation of a black transnationalism. Langston Hughes, W. E. B. Du Bois, Claude McKay, and Paul Robeson each lived or traveled extensively in the Soviet Union between the 1920s and the 1960s, and each reflected on Communism and Soviet life in works that have been largely unavailable, overlooked, or understudied. Kate A. Baldwin takes up these writings, as well as considerable material from Soviet sources--including articles in Pravda and Ogonek , political cartoons, Russian translations of unpublished manuscripts now lost, and mistranslations of major texts--to consider how these writers influenced and were influenced by both Soviet and American culture. Her work demonstrates how the construction of a new Soviet citizen attracted African Americans to the Soviet Union, where they could explore a national identity putatively free of class, gender, and racial biases. While Hughes and McKay later renounced their affiliations with the Soviet Union, Baldwin shows how, in different ways, both Hughes and McKay, as well as Du Bois and Robeson, used their encounters with the U. S. S. R. and Soviet models to rethink the exclusionary practices of citizenship and national belonging in the United States, and to move toward an internationalism that was a dynamic mix of antiracism, anticolonialism, social democracy, and international socialism. Recovering what Baldwin terms the "Soviet archive of Black America," this book forces a rereading of some of the most important African American writers and of the transnational circuits of black modernism., Re-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., Unfortunately, American mass media representations of Muslims-whether in news or entertainment-are typically negative and one-dimensional. As a result, Muslims are frequently viewed negatively by those with minimal knowledge of Islam in America. This accessible two-volume work will help readers to construct an accurate framework for understanding the presence and depictions of Muslims in American society. These volumes discuss a uniquely broad array of key topics in American popular culture, including jihad and jihadis; the hejab, veil, and burka; Islamophobia; Oriental despots; Arabs; Muslims in the media; and mosque burnings. Muslims and American Popular Culture offers more than 40 chapters that serve to debunk the overwhelmingly negative associations of Islam in American popular culture and illustrate the tremendous contributions of Muslims to the United States across an extended historical period., Examining the significant influence of the Soviet Union on the work of four major African American authors-and on twentieth-century American debates about race- Beyond the Color Line and the Iron Curtain remaps black modernism, revealing the importance of the Soviet experience in the formation of a black transnationalism. Langston Hughes, W. E. B. Du Bois, Claude McKay, and Paul Robeson each lived or traveled extensively in the Soviet Union between the 1920s and the 1960s, and each reflected on Communism and Soviet life in works that have been largely unavailable, overlooked, or understudied. Kate A. Baldwin takes up these writings, as well as considerable material from Soviet sources-including articles in Pravda and Ogonek , political cartoons, Russian translations of unpublished manuscripts now lost, and mistranslations of major texts-to consider how these writers influenced and were influenced by both Soviet and American culture. Her work demonstrates how the construction of a new Soviet citizen attracted African Americans to the Soviet Union, where they could explore a national identity putatively free of class, gender, and racial biases. While Hughes and McKay later renounced their affiliations with the Soviet Union, Baldwin shows how, in different ways, both Hughes and McKay, as well as Du Bois and Robeson, used their encounters with the U. S. S. R. and Soviet models to rethink the exclusionary practices of citizenship and national belonging in the United States, and to move toward an internationalism that was a dynamic mix of antiracism, anticolonialism, social democracy, and international socialism. Recovering what Baldwin terms the "Soviet archive of Black America," this book forces a rereading of some of the most important African American writers and of the transnational circuits of black modernism.
LC Classification Number
E185
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- s***s (2024)- Bewertung vom Käufer.Letzter MonatBestätigter Kaufnice book looks new thanks so much and thanks for fast shipping
- g***n (1128)- Bewertung vom Käufer.Letzter MonatBestätigter KaufNice book arrived promptly and just as described. Thanks for a smooth purchase! A+ I'll be back again soon!
- y***1 (76)- Bewertung vom Käufer.Letzter MonatBestätigter KaufThank you 😊