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From well-known intellectuals such as Frederick Douglass and Nella Larsen to often-obscured thinkers such as Amina Baraka and Bernardo Ruiz Suárez, black theorists across the globe have engaged in sustained efforts to create insurgent and resilient forms of thought. New Perspectives on the Black Intellectual Tradition is a collection of twelve essays that explores these and other theorists and their contributions to diverse strains of political, social, and cultural thought. The book examines four central themes within the black intellectual tradition: black internationalism, religion and spirituality, racial politics and struggles for social justice, and black radicalism. The essays identify the emergence of black thought within multiple communities internationally, analyze how black thinkers shaped and were shaped by the historical moment in which they lived, interrogate the ways in which activists and intellectuals connected their theoretical frameworks across time and space, and assess how these strains of thought bolstered black consciousness and resistance worldwide. Defying traditional temporal and geographical boundaries, New Perspectives on the Black Intellectual Tradition illuminates the origins of and conduits for black ideas, redefines the relationship between black thought and social action, and challenges long-held assumptions about black perspectives on religion, race, and radicalism. The intellectuals profiled in the volume reshape and redefine the contours and boundaries of black thought, further illuminating the depth and diversity of the black intellectual tradition.
Focusing on a period of history rocked by four armed movements, Lillian Guerra traces the origins of Cubans' struggles to determine the meaning of their identity and the character of the state, from Cuba's last war of independence in 1895 to the consolidation of U.S. neocolonial hegemony in 1921. Guerra argues that political violence and competing interpretations of the "social unity" proposed by Cuba's revolutionary patriot, Jose Marti, reveal conflicting visions of the nation--visions that differ in their ideological radicalism and in how they cast Cuba's relationship with the United States. As Guerra explains, some nationalists supported incorporating foreign investment and values, while others sought social change through the application of an authoritarian model of electoral politics; still others sought a democratic government with social and economic justice. But for all factions, the image of Marti became the principal means by which Cubans attacked, policed, and discredited one another to preserve their own vision over others'. Guerra's examination demonstrates how competing historical memories and battles for control of a weak state explain why polarity, rather than consensus on the idea of the "nation" and the character of the Cuban state, came to define Cuban politics throughout the twentieth century.
While it was not until 1871 that slavery in Cuba was finally abolished, African-descended people had high hopes for legal, social, and economic advancement as the republican period started. In Black Political Activism and the Cuban Republic, Melina Pappademos analyzes the racial politics and culture of black civic and political activists during the Cuban Republic. The path to equality, Pappademos reveals, was often stymied by successive political and economic crises, patronage politics, and profound racial tensions. In the face of these issues, black political leaders and members of black social clubs developed strategies for expanding their political authority and for winning respectability and socioeconomic resources. Rather than appeal to a monolithic black Cuban identity based on the assumption of shared experience, these black activists, politicians, and public intellectuals consistently recognized the class, cultural, and ideological differences that existed within the black community, thus challenging conventional wisdom about black community formation and anachronistic ideas of racial solidarity. Pappademos illuminates the central, yet often silenced, intellectual and cultural role of black Cubans in the formation of the nation's political structures; in doing so, she shows that black activism was only partially motivated by race.
The haves and the have-nots, "coastal elites" versus "real America," big cities or fly-over country, people play fast and loose with the terms, but who falls into these groups and are they really so different? Media and politicians alike constantly push the narrative of "us" versus " them," instead of one nation indivisible. But are they correct to do so or woefully misguided? This insightful anthology unpacks the concept of a divided nation and looks at the conflicts that come from economic disparity, geography, social status, and more.
The real roots of the Harlem Renaissance lie in,the Garvey Movement. This volume presents a rich,treasury of literary criticism, book reviews,poetry, short stories, music, art appreciation and,polemics on the Black aesthetic and other never,before published literary and cultural writings of,Garvey's Harlem Renaissance.
The St. Croix–born, Harlem-based Hubert Harrison (1883–1927) was a brilliant writer, orator, educator, critic, and activist who combined class consciousness and anti-white-supremacist race consciousness into a potent political radicalism. Harrison’s ideas profoundly influenced “New Negro” militants, including A. Philip Randolph and Marcus Garvey, and his work is a key link in the two great strands of the Civil Rights/Black Liberation struggle: the labor- and civil-rights movement associated with Randolph and Martin Luther King Jr. and the race and nationalist movement associated with Garvey and Malcolm X. In this second volume of his acclaimed biography, Jeffrey B. Perry traces the final decade of Harrison’s life, from 1918 to 1927. Perry details Harrison’s literary and political activities, foregrounding his efforts against white supremacy and for racial consciousness and unity in struggles for equality and radical social change. The book explores Harrison’s role in the militant New Negro Movement and the International Colored Unity League, as well as his prolific work as a writer, educator, and editor of the New Negro and the Negro World. Perry examines Harrison’s interactions with major figures such as Garvey, Randolph, J. A. Rogers, Arthur Schomburg, and other prominent individuals and organizations as he agitated, educated, and organized for democracy and equality from a race-conscious, radical internationalist perspective. This magisterial biography demonstrates how Harrison’s life and work continue to offer profound insights on race, class, religion, immigration, war, democracy, and social change in America.
"Catanese's beautifully written and cogently argued book addresses one of the most persistent sociopolitical questions in contemporary culture. She suggests that it is performance and the difference it makes that complicates the terms by which we can even understand 'multicultural' and 'colorblind' concepts. A tremendously illuminating study that promises to break new ground in the fields of theatre and performance studies, African American studies, feminist theory, cultural studies, and film and television studies." ---Daphne Brooks, Princeton University "Adds immeasurably to the ways in which we can understand the contradictory aspects of racial discourse and performance as they have emerged during the last two decades. An ambitious, smart, and fascinating book." ---Jennifer DeVere Brody, Duke University Are we a multicultural nation, or a colorblind one? The Problem of the Color[blind] examines this vexed question in American culture by focusing on black performance in theater, film, and television. The practice of colorblind casting---choosing actors without regard to race---assumes a performing body that is somehow race neutral. But where, exactly, is race neutrality located---in the eyes of the spectator, in the body of the performer, in the medium of the performance? In analyzing and theorizing such questions, Brandi Wilkins Catanese explores a range of engaging and provocative subjects, including the infamous debate between playwright August Wilson and drama critic Robert Brustein, the film career of Denzel Washington, Suzan-Lori Parks's play Venus, the phenomenon of postblackness (as represented in the Studio Museum in Harlem's "Freestyle" exhibition), the performer Ice Cube's transformation from icon of gangsta rap to family movie star, and the controversial reality television series Black. White. Concluding that ideologies of transcendence are ahistorical and therefore unenforceable, Catanese advances the concept of racial transgression---a process of acknowledging rather than ignoring the racialized histories of performance---as her chapters move between readings of dramatic texts, films, popular culture, and debates in critical race theory and the culture wars.
Argues that racism and antiracism continue to coexist in Cuban nationalism and society despite its fight for freedom, and describes the limitations Afro-Cubans face in job access, education, and political representation.