"Highly original and deeply probing in its analyses into the intricacies of its topic, "Constructing the Black Masculine" is a timely and rewarding addition to the study of African American literature, American studies, and race and sexuality. Maurice O. Wallace has a lot to teach."--Nellie McKay, coeditor of "The Norton Anthology of African American Literature"
"Highly original and deeply probing in its analyses into the intricacies of its topic, "Constructing the Black Masculine" is a timely and rewarding addition to the study of African American literature, American studies, and race and sexuality. Maurice O. Wallace has a lot to teach."--Nellie McKay, coeditor of "The Norton Anthology of African American Literature"
Maurice O. Wallace is Assistant Professor of English and African and African American Studies at Duke University.
Inhaltsangabe
List of Illustrations Acknowledgments > Introduction Part One: Spectagraphia 1. On Dangers Seen and Unseen: Identity Politics and the Burden of Black Male Specularity Part Two: No Hiding Place 2. “Are We Men?”: Prince Hall, Martin Delany, and the Black Masculine Ideal in Black Freemasonry, 1775-1865 3. Constructing the Black Masculine: Frederick Douglass, Booker T. Washington, and the Sublimits of African American Autobiography 4. A Man’s Place: Architecture, Identity, and Black Masculine Being Part Three: Looking B(l)ack 5. “I’m Not Entirely What I Look Like”: Richard Wright, James Baldwin, and the Hegemony of Vision; or Jimmy’s FBEye Blues 6. What Juba Knew: Dance and Desire in Melvin Dixon’s Vanishing Room > Afterword: “What Ails you Polyphemus?”: Toward a New Ontology of Vision in Frantz Fanon’s Black Skin White Masks Notes Bibliography Index
List of Illustrations Acknowledgments > Introduction Part One: Spectagraphia 1. On Dangers Seen and Unseen: Identity Politics and the Burden of Black Male Specularity Part Two: No Hiding Place 2. “Are We Men?”: Prince Hall, Martin Delany, and the Black Masculine Ideal in Black Freemasonry, 1775-1865 3. Constructing the Black Masculine: Frederick Douglass, Booker T. Washington, and the Sublimits of African American Autobiography 4. A Man’s Place: Architecture, Identity, and Black Masculine Being Part Three: Looking B(l)ack 5. “I’m Not Entirely What I Look Like”: Richard Wright, James Baldwin, and the Hegemony of Vision; or Jimmy’s FBEye Blues 6. What Juba Knew: Dance and Desire in Melvin Dixon’s Vanishing Room > Afterword: “What Ails you Polyphemus?”: Toward a New Ontology of Vision in Frantz Fanon’s Black Skin White Masks Notes Bibliography Index
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