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The Concept of Self examines the historical basis for the widely misunderstood ideas of how African Americans think of themselves individually, and how they relate to being part of a group that has been subjected to challenges of their very humanity.
In seven representative episodes of black masculine literary and cultural history—from the founding of the first African American Masonic lodge in 1775 to the 1990s choreographies of modern dance genius Bill T. Jones—Constructing the Black Masculine maps black men’s historical efforts to negotiate the frequently discordant relationship between blackness and maleness in the cultural logic of American identity. Maurice O. Wallace draws on an impressive variety of material to investigate the survivalist strategies employed by black men who have had to endure the disjunction between race and masculinity in American culture. Highlighting their chronic objectification under the gaze of white eyes, Wallace argues that black men suffer a social and representational crisis in being at once seen and unseen, fetish and phantasm, spectacle and shadow in the American racial imagination. Invisible and disregarded on one hand, black men, perceived as potential threats to society, simultaneously face the reality of hypervisibility and perpetual surveillance. Paying significant attention to the sociotechnologies of vision and image production over two centuries, Wallace shows how African American men—as soldiers, Freemasons, and romantic heroes—have sought both to realize the ideal image of the American masculine subject and to deconstruct it in expressive mediums like modern dance, photography, and theatre. Throughout, he draws on the experiences and theories of such notable figures as Frederick Douglass, W. E. B. Du Bois, Booker T. Washington, and James Baldwin.
In their later years, Americans of different racial and ethnic backgrounds are not in equally good-or equally poor-health. There is wide variation, but on average older Whites are healthier than older Blacks and tend to outlive them. But Whites tend to be in poorer health than Hispanics and Asian Americans. This volume documents the differentials and considers possible explanations. Selection processes play a role: selective migration, for instance, or selective survival to advanced ages. Health differentials originate early in life, possibly even before birth, and are affected by events and experiences throughout the life course. Differences in socioeconomic status, risk behavior, social relations, and health care all play a role. Separate chapters consider the contribution of such factors and the biopsychosocial mechanisms that link them to health. This volume provides the empirical evidence for the research agenda provided in the separate report of the Panel on Race, Ethnicity, and Health in Later Life.
The struggle for black identity in antebellum New York
Focusing on the broad range of attitudes Black people employ to make sense of their Blackness, this volume offers the latest research on racial identity. The first section explores meaning-making, or the importance of holding one type of racial-cultural identity as compared to another. It looks at a wide range of topics, including stereotypes, spirituality, appearance, gender and intersectionalities, masculinity, and more. The second section examines the different expressions of internalized racism that arise when the pressure of oppression is too great, and includes such topics as identity orientations, self-esteem, colorism, and linked fate. Grounded in psychology, the research presented here makes the case for understanding Black identity as wide ranging in content, subject to multiple interpretations, and linked to both positive mental health as well as varied forms of internalized racism.
Includes information on AIDS (Acquired Immune Deficiency Syndrome), Laurie Anderson, authenticity, back up singing, Imamu Amiri Baraka (Leroi Jones), Black Arts movement, Black Like Me (Griffin), black masculinity, balck nationalism, Black Power movement, breakdancing, Diahann, Carroll, designatory terminology, femininity, Nikki Giovanni, Harlem Renaissance, HIV (human immunodeficiency virus), homosexuality, Jesse Jackson, Michael Jackson, Jane Doe v. State of Louisana, Earvin (Magic) Johnson, Motown Record Corporation, MTV, pop music, racial classificaton, racial passing, rap (music), Alice Beatrice Jones Rhinelander case, Max Robinson, Room 222 (television), Run DMC, RuPaul, O.J. Simpson, the Supremes, Stevie Wonder, etc.
An introduction to the complex relationship between African Americans and the African continent What is an “African American” and how does this identity relate to the African continent? Rising immigration levels, globalization, and the United States’ first African American president have all sparked new dialogue around the question. This book provides an introduction to the relationship between African Americans and Africa from the era of slavery to the present, mapping several overlapping diasporas. The diversity of African American identities through relationships with region, ethnicity, slavery, and immigration are all examined to investigate questions fundamental to the study of African American history and culture.
Offers a set of diverse analyses of traditional and contemporary work on language structure and use in African American communities.
Slaves to Fashion is a pioneering cultural history of the black dandy, from his emergence in Enlightenment England to his contemporary incarnations in the cosmopolitan art worlds of London and New York. It is populated by sartorial impresarios such as Julius Soubise, a freed slave who sometimes wore diamond-buckled, red-heeled shoes as he circulated through the social scene of eighteenth-century London, and Yinka Shonibare, a prominent Afro-British artist who not only styles himself as a fop but also creates ironic commentaries on black dandyism in his work. Interpreting performances and representations of black dandyism in particular cultural settings and literary and visual texts, Monica L. Miller emphasizes the importance of sartorial style to black identity formation in the Atlantic diaspora. Dandyism was initially imposed on black men in eighteenth-century England, as the Atlantic slave trade and an emerging culture of conspicuous consumption generated a vogue in dandified black servants. “Luxury slaves” tweaked and reworked their uniforms, and were soon known for their sartorial novelty and sometimes flamboyant personalities. Tracing the history of the black dandy forward to contemporary celebrity incarnations such as Andre 3000 and Sean Combs, Miller explains how black people became arbiters of style and how they have historically used the dandy’s signature tools—clothing, gesture, and wit—to break down limiting identity markers and propose new ways of fashioning political and social possibility in the black Atlantic world. With an aplomb worthy of her iconographic subject, she considers the black dandy in relation to nineteenth-century American literature and drama, W. E. B. Du Bois’s reflections on black masculinity and cultural nationalism, the modernist aesthetics of the Harlem Renaissance, and representations of black cosmopolitanism in contemporary visual art.