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Verdunkelnde Spiegel: Imperiale Darstellung in der Depression-Ära Afrikaamerika.
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eBay-Artikelnr.:364507149519
Artikelmerkmale
- Artikelzustand
- Gut
- Hinweise des Verkäufers
- Book Title
- Darkening Mirrors : Imperial Representation in Depression-era Afr
- ISBN
- 9780822349235
- Publication Year
- 2012
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Publication Name
- Darkening Mirrors : Imperial Representation in Depression-Era African American Performance
- Item Height
- 0.6in
- Item Length
- 9.8in
- Publisher
- Duke University Press
- Item Width
- 5.9in
- Item Weight
- 19.6 Oz
- Number of Pages
- 352 Pages
Über dieses Produkt
Product Information
Darkening Mirrors analyzes the complicated relationships between African American identity, as reflected in performances, and the forces of imperialist and racial oppression.
Product Identifiers
Publisher
Duke University Press
ISBN-10
082234923x
ISBN-13
9780822349235
eBay Product ID (ePID)
23038624894
Product Key Features
Publication Name
Darkening Mirrors : Imperial Representation in Depression-Era African American Performance
Format
Trade Paperback
Language
English
Publication Year
2012
Type
Textbook
Number of Pages
352 Pages
Dimensions
Item Length
9.8in
Item Height
0.6in
Item Width
5.9in
Item Weight
19.6 Oz
Additional Product Features
Lc Classification Number
E185.625.B375 2012
Reviews
" Darkening Mirrors provides insightful detailed critical commentary on theatricality and aesthetics as well as a wealth of details on the milieu and audience responses, with concentrated attention to issues related to empowerment and disempowerment. Batiste is especially strong in revealing the complicated duality for blacks in assuming the imperial culture and protesting against it." - Sandra M. Mayo, New Theatre Quarterly, "In Darkening Mirrors , Stephanie Leigh Batiste rigorously explores black Americans' complicity in imperialist discourse at the height of the Depression era. She makes an important, enlivening contribution to a growing body of scholarship examining some of the more complicated and ambiguous political affiliations of black cultural producers of the nineteenth century and early twentieth. This is a tremendously provocative study."-- Daphne Brooks , author of Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850-1910, What separates Batiste's work from the existing literature is her ability to pinpoint how modern black film, theater, and dance performances repurposed normative gazes, racist imagery, and dominant narratives to relocate black identities from the margins to a reimagined center.... Batiste achieves an impressive balance...., "In Darkening Mirrors , Stephanie Batiste rigorously explores black Americans' complicity in imperialist discourse at the height of the Depression era. She makes an important, enlivening contribution to a growing body of scholarship examining some of the more complicated and ambiguous political affiliations of black cultural producers of the nineteenth century and early twentieth. This is a tremendously provocative study."- Daphne Brooks , author of Bodies in Dissent: Performing the Transatlantic Imaginary, " Darkening Mirrors is a powerful argument that during the 1930s, African American popular performers took part in U.S. imperial and nationalist projects even as they resisted the dominant culture's racism. In vivid, illuminating readings of films and stage shows--from The "Swing" Mikado and the Federal Theater Project's 'voodoo' Macbeth to Katherine Dunham's concert ballet L'Ag'Ya --Stephanie Leigh Batiste makes her case stick, and she makes it sting. At the same time, she writes beautifully about how black Americans asserted the genius of African and Afro-diasporic arts on the national and transnational scene."-- Joseph Roach , Yale University, Throughout, [Batiste's] analysis is rich and meticulous, grounded in and facile at negotiating and nuancing the subtleties of racial and postcolonial theory. Indeed, by demonstrating the variety of ways that black performers in this period not only engaged but also expanded, refined, challenged, and subverted the meaning of blackness in American culture, Batiste's book itself 'performs' important cultural work., "In Darkening Mirrors , Stephanie Leigh Batiste rigorously explores black Americans' complicity in imperialist discourse at the height of the Depression era. She makes an important, enlivening contribution to a growing body of scholarship examining some of the more complicated and ambiguous political affiliations of black cultural producers of the nineteenth century and early twentieth. This is a tremendously provocative study." Daphne Brooks, author of Bodies in Dissent: Performing the Transatlantic Imaginary " Darkening Mirrors is a powerful argument that during the 1930s, African American popular performers took part in US imperial and nationalist projects even as they resisted the dominant culture's racism. In vivid, illuminating readings of films and stage shows-from The Swing Mikado and the Federal Theater Project's 'voodoo' Macbeth to Katherine Dunham's concert ballet L'Ag'Ya -Stephanie Leigh Batiste makes her case stick, and she makes it sting. At the same time, she writes beautifully about how black Americans asserted the genius of African and Afro-diasporic arts on the national and transnational scene." Joseph Roach, Yale University, Darkening Mirrors provides insightful detailed critical commentary on theatricality and aesthetics as well as a wealth of details on the milieu and audience responses, with concentrated attention to issues related to empowerment and disempowerment. Batiste is especially strong in revealing the complicated duality for blacks in assuming the imperial culture and protesting against it., Resisting simplification at every turn, Darkening Mirrors deftly describes the complicated negotiations Depression-era African-American performers entered into with the hopes of incorporating themselves within a national body.... Darkening Mirrors is a thoughtful and rigorous study of an underexamined era of black performance. Batiste's book not only draws attention to an all-too-frequently neglected body of work, it also offers a theoretical corrective to the impulse to position black cultural workers as either heroes or villains., "Throughout, [Batiste's] analysis is rich and meticulous, grounded in and facile at negotiating and nuancing the subtleties of racial and postcolonial theory. Indeed, by demonstrating the variety of ways that black performers in this period not only engaged but also expanded, refined, challenged, and subverted the meaning of blackness in American culture, Batiste's book itself "performs" important cultural work." - Lori Duin Kelly, Journal of American Culture, "What separates Batiste's work from the existing literature is her ability to pinpoint how modern black film, theater, and dance performances repurposed normative gazes, racist imagery, and dominant narratives to relocate black identities from the margins to a reimagined center.... Batiste achieves an impressive balance..." - Marvin McAllister, Journal of American History, "In Darkening Mirrors , Stephanie Leigh Batiste rigorously explores black Americans' complicity in imperialist discourse at the height of the Depression era. She makes an important, enlivening contribution to a growing body of scholarship examining some of the more complicated and ambiguous political affiliations of black cultural producers of the nineteenth century and early twentieth. This is a tremendously provocative study."- Daphne Brooks , author of Bodies in Dissent: Spectacular Performances of Race and Freedom, 18501910, " Darkening Mirrors is a powerful argument that during the 1930s, African American popular performers took part in US imperial and nationalist projects even as they resisted the dominant culture's racism. In vivid, illuminating readings of films and stage shows-from The Swing Mikado and the Federal Theater Project's 'voodoo' Macbeth to Katherine Dunham's concert ballet L'Ag'Ya -Stephanie Leigh Batiste makes her case stick, and she makes it sting. At the same time, she writes beautifully about how black Americans asserted the genius of African and Afro-diasporic arts on the national and transnational scene."- Joseph Roach , Yale University, " Darkening Mirrors is a powerful argument that during the 1930s, African American popular performers took part in U.S. imperial and nationalist projects even as they resisted the dominant culture's racism. In vivid, illuminating readings of films and stage shows-from The "Swing" Mikado and the Federal Theater Project's 'voodoo' Macbeth to Katherine Dunham's concert ballet L'Ag'Ya -Stephanie Leigh Batiste makes her case stick, and she makes it sting. At the same time, she writes beautifully about how black Americans asserted the genius of African and Afro-diasporic arts on the national and transnational scene."- Joseph Roach , Yale University, " Darkening Mirrors is an important contribution to thinking about what has been, until now, an undertheorized subject: black Americans' complicity in imperialist discourse. Stephanie Leigh Batiste covers drama, film, and dance; analyzes texts that have received little critical attention; and brings the insights of postcolonial, critical race, performance, and theater studies to bear on complex issues of power, desire, imperialism, aesthetics, and racial solidarity. Her nuanced readings of Depression-era performances show not only how African Americans were implicated in the quest to solidify American imperialism and the colonization of the 'racial other,' but also how they rejected those same projects through performance practices including costume, set design, speech, movement, and music."-- E. Patrick Johnson , author of Appropriating Blacknesss: Performance and the Politics of Authenticity, " Darkening Mirrors is an important contribution to thinking about what has been, until now, an undertheorized subject: black Americans' complicity in imperialist discourse. Stephanie Leigh Batiste covers drama, film, and dance; analyzes texts that have received little critical attention; and brings the insights of postcolonial, critical race, performance, and theater studies to bear on complex issues of power, desire, imperialism, aesthetics, and racial solidarity. Her nuanced readings of Depression-era performances show not only how African Americans were implicated in the quest to solidify American imperialism and the colonization of the 'racial other,' but also how they rejected those same projects through performance practices including costume, set design, speech, movement, and music."- E. Patrick Johnson , author of Appropriating Blacknesss: Performance and the Politics of Authenticity, What makes Darkening Mirrors an important contribution to postcolonial studies, performance studies and area studies is that it strengthens our empirical understanding of black performance past and present so as to better theorize both temporalities. Batiste implicitly expands our understanding of the governmentalities that structure modernist artistic discourse in the twentieth century. In the end, Darkening Mirrors skilfully brings together the aesthetic and national to deepen our understanding of these operations., "In Darkening Mirrors: Imperial Representation in Depression Era African American Performance , Stephanie Leigh Batiste argues that black arts and 'uplift' movements as embodied in popular performance participated in the larger imperial and nationalist projects of the United States in the 1930s as well as resisting the dominant culture's racism. In a series of vividly illuminating readings of films and stage shows-from the Federal Theatre Project's 'Voodoo' Macbeth , and the Swing Mikado to Katherine Dunham's L'Ag Ya -she makes her case stick, and she makes it sting. Even while critiquing the colonialist implications of film and dance ethnographer, however, Batiste has written a beautiful evocation of their achievement in asserting the preeminence of African and Afro-diasporic arts on the national and transnational scene."- Joseph Roach , Yale University
Table of Content
List of Figures ix Prologue xi Acknowledgments xix Introduction 1 1. "Harlem Rides the Range": Expansion, Modernity, and Negro Success 27 2. Epaulets and Leaf Skirts, Warriors, and Subversives: Exoticism in the Performance of the Haitian Revolution 70 3. Prisms of Imperial Gaze: Swinging the Negro Mikado 115 4. Lens/Body: Anthropology's Methodologies and Spaces of Reflection in Dunham's Diaspora 165 5. Ethnographic Refraction: Exoticism and Diasporic Sisterhood in The Devil's Daughter 201 6. No Storm in the Weather: Domestic Bliss and African American Performance 228 Epilogue 256 Notes 261 Bibliography 299 Index 317
Copyright Date
2012
Topic
Theater / History & Criticism, Film / History & Criticism, Ethnic Studies / African American Studies
Lccn
2011-027451
Dewey Decimal
305.896/073
Intended Audience
Scholarly & Professional
Dewey Edition
23
Illustrated
Yes
Genre
Social Science, Performing Arts
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