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On the campaign trail, Barack Obama faced a difficult task—rallying African American voters while resisting his opponents’ attempts to frame him as “too black” to govern the nation as a whole. Obama’s solution was to employ what Toni Morrison calls “race-specific, race-free language,” avoiding open discussions of racial issues while using terms and references that carried a specific cultural resonance for African American voters. Stephanie Li argues that American politicians and writers are using a new kind of language to speak about race. Challenging the notion that we have moved into a “post-racial” era, she suggests that we are in an uneasy moment where American public discourse demands that race be seen, but not heard. Analyzing contemporary political speech with nuanced readings of works by such authors as Toni Morrison, Jhumpa Lahiri, and Colson Whitehead, Li investigates how Americans of color have negotiated these tensions, inventing new ways to signal racial affiliations without violating taboos against open discussions of race.
Examines the complicated political legacy of our first black president Written during the presidency of Donald Trump, After Obama examines the impact President Barack Obama and his administration have continued to have upon African American politics. In this comprehensive volume, Todd C. Shaw, Robert A. Brown, and Joseph P. McCormick II bring together more than a dozen scholars to explore his complex legacy, including his successes, failures, and contradictions. Contributors focus on a wide range of topics, including how President Obama affected aspects of African American politics, how his public policies influenced the quality of Black citizenship and life, and what future administrations can learn from his experiences. They also examine the present-day significance of Donald Trump in relation to African American politics. A timely and thorough work, After Obama provides the first examination of the Obama administration in its entirety, and the lasting impact it has had on African American politics.
The first sustained critical examination of the work of Dominican-American writer Junot Díaz, this interdisciplinary collection considers how Díaz's writing illuminates the world of Latino cultural expression and trans-American and diasporic literary history. Interested in conceptualizing Díaz's decolonial imagination and his radically re-envisioned world, the contributors show how his aesthetic and activist practice reflect a significant shift in American letters toward a hemispheric and planetary culture. They examine the intersections of race, Afro-Latinidad, gender, sexuality, disability, poverty, and power in Díaz's work. Essays in the volume explore issues of narration, language, and humor in The Brief Wondrous Life of Oscar Wao, the racialized constructions of gender and sexuality in Drown and This Is How You Lose Her, and the role of the zombie in the short story "Monstro." Collectively, they situate Díaz’s writing in relation to American and Latin American literary practices and reveal the author’s activist investments. The volume concludes with Paula Moya's interview with Díaz. Contributors: Glenda R. Carpio, Arlene Dávila, Lyn Di Iorio, Junot Díaz, Monica Hanna, Jennifer Harford Vargas, Ylce Irizarry, Claudia Milian, Julie Avril Minich, Paula M. L. Moya, Sarah Quesada, José David Saldívar, Ramón Saldívar, Silvio Torres-Saillant, Deborah R. Vargas
2020 Barnard Hewitt Award, honorable mention Washington D.C.’s Arena Stage was the first professional regional theatre in the nation’s capital to welcome a racially integrated audience; the first to perform behind the Iron Curtain; and the first to win the Tony Award for best regional theatre. This behind-the-scenes look at one of the leading theatres in the United States shows how key financial and artistic decisions were made, using a range of archival materials such as letters and photographs as well as interviews with artists and administrators. Close-ups of major productions from The Great White Hope to Oklahoma! illustrate how Arena Stage navigated cultural trends. More than a chronicle, America in the Round is a critical history that reveals how far the theatre could go with its budget and racially liberal politics, and how Arena both disputed and duplicated systems of power. With an innovative “in the round” approach, the narrative simulates sitting in different parts of the arena space to see the theatre through different lenses—economics, racial dynamics, and American identity.
Despite claims from pundits and politicians that we now live in a post-racial America, people seem to keep finding ways to talk about race—from celebrations of the inauguration of the first Black president to resurgent debates about police profiling, race and racism remain salient features of our world. When faced with fervent anti-immigration sentiments, record incarceration rates of Blacks and Latinos, and deepening socio-economic disparities, a new question has erupted in the last decade: What does being post-racial mean? The Post-Racial Mystique explores how a variety of media—the news, network television, and online, independent media—debate, define and deploy the term “post-racial” in their representations of American politics and society. Using examples from both mainstream and niche media—from prime-time television series to specialty Christian media and audience interactions on social media—Catherine Squires draws upon a variety of disciplines including communication studies, sociology, political science, and cultural studies in order to understand emergent strategies for framing post-racial America. She reveals the ways in which media texts cast U.S. history, re-imagine interpersonal relationships, employ statistics, and inventively redeploy other identity categories in a quest to formulate different ways of responding to race.
The years 1989–2008 were an era of neoliberal hegemony in US politics, economy, and culture. Post*45 scholar Adam Kelly argues that American novelists who began their careers during these years—specifically the post-baby boom generation of writers born between the late 1950s and early 1970s—responded to the times by developing in their fiction an aesthetics of sincerity. How, and in what way, these writers ask, can you mean what you say, and avow what you feel, when what you say and feel can be bought and sold on the market? What is authentic art in a historical moment when the artist has become a model for neoliberal subjectivity rather than its negation? Through six chapters focused on key writers of the period—including Susan Choi, Helen DeWitt, Jennifer Egan, Dave Eggers, George Saunders, Dana Spiotta, Colson Whitehead, and David Foster Wallace—the book explores these central questions while intervening critically in a set of debates in contemporary literary studies concerning aesthetics, economy, gender, race, class, and politics. Offering the capstone articulation of a set of influential arguments made by the author over a decade and more, New Sincerity constitutes a field-defining account of a period that is simultaneously recent and historically bound, and of a generation of writers who continue to shape the literary landscape of the present.
This is the first book to explore the full range and import of Lacan's theory of poetry and its relationship to his understanding of the subject and historicity. Gilbert Chaitin's lucid and accessible study of this famously complex thinker shows how Lacan moves beyond the traditionally hostile polarities of mythos and logos, poetics and philosophy, to conceive of the subject as a complex interplay between psychoanalysis, rationality and history. Lacan's incorporation of historical necessity into the formation of subjectivity enables him to illuminate the role literature plays in the creation of selfhood. Lacan's metaphor of the subject, Chaitin argues, draws not only on Saussure, Jakobson, Freud, Heidegger and Hegel but on hitherto unacknowledged sources such as Bertrand Russell and I.A. Richards. Chaitin explores the ambiguities, contradictions and singularities of Lacan's immensely influential work to provide a definitive account of the theoretical development across his entire career.
Ninety years after W.E.B. Du Bois first articulated the need for "the equivalent of a black Encyclopedia Britannica," Kwame Anthony Appiah and Henry Louis Gates Jr., realized his vision by publishing Africana: The Encyclopedia of the African and African American Experience in 1999. This new, greatly expanded edition of the original work broadens the foundation provided by Africana. Including more than one million new words, Africana has been completely updated and revised. New entries on African kingdoms have been added, bibliographies now accompany most articles, and the encyclopedia's coverage of the African diaspora in Latin America and the Caribbean has been expanded, transforming the set into the most authoritative research and scholarly reference set on the African experience ever created. More than 4,000 articles cover prominent individuals, events, trends, places, political movements, art forms, business and trade, religion, ethnic groups, organizations and countries on both sides of the Atlantic. African American history and culture in the present-day United States receive a strong emphasis, but African American history and culture throughout the rest of the Americas and their origins in African itself have an equally strong presence. The articles that make up Africana cover subjects ranging from affirmative action to zydeco and span over four million years from the earlies-known hominids, to Sean "Diddy" Combs. With entries ranging from the African ethnic groups to members of the Congressional Black Caucus, Africana, Second Edition, conveys the history and scope of cultural expression of people of African descent with unprecedented depth.
“This incisive work” examining Obama’s speeches and the theories of W.E.B. DuBois “illuminates the influences of words and ideas” (Choice). The racial history of US citizenship is vital to our understanding of both citizenship and race. Robert E. Terrill argues that, to invent a robust manner of addressing one another as citizens, Americans must draw on the indignities of racial exclusion that have stained citizenship since its inception. In Double-Consciousness and the Rhetoric of Barack Obama, Terrill demonstrates how President Barack Obama’s public address models such a discourse. Terrill contends that Obama’s most effective oratory invites his audiences to experience a form of “double-consciousness,” famously described by W. E. B. Du Bois as a feeling of “two-ness” resulting from the African American experience of “always looking at one’s self through the eyes of others.” An effect of cruel alienation, this double-consciousness can also offer valuable perspectives on society. When addressing fellow citizens, Obama asks each to share in the “peculiar sensation” that Du Bois described. Through close analyses of selected speeches from Obama’s 2008 campaign and first presidential term, this book argues that Obama does not present double-consciousness merely as a point of view but as an idiom with which we might speak to one another. Of course, as Du Bois’s work reminds us, double-consciousness results from imposition and encumbrance, so that Obama’s oratory presents a mode of address that emphasizes the burdens of citizenship together with the benefits, the price as well as the promise.