Appropriating Blackness: Performance and the Politics of Authenticity
Performance artist and scholar E. Patrick Johnson's provocative study examines how blackness is appropriated and performed-toward widely divergent ends-both within and outside African American culture. Appropriating Blackness develops from the contention that blackness in the United States is n...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Durham
Duke University Press
[2003]
|
| Schlagworte: | |
| Online-Zugang: | FAB01 FAW01 FCO01 FHA01 FKE01 FLA01 UPA01 UBG01 Volltext |
| Zusammenfassung: | Performance artist and scholar E. Patrick Johnson's provocative study examines how blackness is appropriated and performed-toward widely divergent ends-both within and outside African American culture. Appropriating Blackness develops from the contention that blackness in the United States is necessarily a politicized identity-avowed and disavowed, attractive and repellent, fixed and malleable. Drawing on performance theory, queer studies, literary analysis, film criticism, and ethnographic fieldwork, Johnson describes how diverse constituencies persistently try to prescribe the boundaries of "authentic" blackness and how performance highlights the futility of such enterprises.Johnson looks at various sites of performed blackness, including Marlon Riggs's influential documentary Black Is . . . Black Ain't and comedic routines by Eddie Murphy, David Alan Grier, and Damon Wayans. He analyzes nationalist writings by Amiri Baraka and Eldridge Cleaver, the vernacular of black gay culture, an oral history of his grandmother's experience as a domestic worker in the South, gospel music as performed by a white Australian choir, and pedagogy in a performance studies classroom. By exploring the divergent aims and effects of these performances-ranging from resisting racism, sexism, and homophobia to excluding sexual dissidents from the black community-Johnson deftly analyzes the multiple significations of blackness and their myriad political implications. His reflexive account considers his own complicity, as ethnographer and teacher, in authenticating narratives of blackness |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 12. Dez 2020) |
| Beschreibung: | 1 online resource (382 pages) 16 b&w photos |
| ISBN: | 9780822385103 |
| DOI: | 10.1515/9780822385103 |
Internformat
MARC
| LEADER | 00000nmm a2200000zc 4500 | ||
|---|---|---|---|
| 001 | BV047113858 | ||
| 003 | DE-604 | ||
| 005 | 00000000000000.0 | ||
| 007 | cr|uuu---uuuuu | ||
| 008 | 210129s2003 |||| o||u| ||||||eng d | ||
| 020 | |a 9780822385103 |9 978-0-8223-8510-3 | ||
| 024 | 7 | |a 10.1515/9780822385103 |2 doi | |
| 035 | |a (ZDB-23-DGG)9780822385103 | ||
| 035 | |a (OCoLC)1235892643 | ||
| 035 | |a (DE-599)BVBBV047113858 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-1043 |a DE-1046 |a DE-858 |a DE-Aug4 |a DE-859 |a DE-860 |a DE-473 |a DE-739 | ||
| 082 | 0 | |a 305.896/073 |2 21 | |
| 100 | 1 | |a Johnson, E. Patrick |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Appropriating Blackness |b Performance and the Politics of Authenticity |c E. Patrick Johnson |
| 264 | 1 | |a Durham |b Duke University Press |c [2003] | |
| 264 | 4 | |c © 2003 | |
| 300 | |a 1 online resource (382 pages) |b 16 b&w photos | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b c |2 rdamedia | ||
| 338 | |b cr |2 rdacarrier | ||
| 500 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 12. Dez 2020) | ||
| 520 | |a Performance artist and scholar E. Patrick Johnson's provocative study examines how blackness is appropriated and performed-toward widely divergent ends-both within and outside African American culture. Appropriating Blackness develops from the contention that blackness in the United States is necessarily a politicized identity-avowed and disavowed, attractive and repellent, fixed and malleable. Drawing on performance theory, queer studies, literary analysis, film criticism, and ethnographic fieldwork, Johnson describes how diverse constituencies persistently try to prescribe the boundaries of "authentic" blackness and how performance highlights the futility of such enterprises.Johnson looks at various sites of performed blackness, including Marlon Riggs's influential documentary Black Is . . . Black Ain't and comedic routines by Eddie Murphy, David Alan Grier, and Damon Wayans. He analyzes nationalist writings by Amiri Baraka and Eldridge Cleaver, the vernacular of black gay culture, an oral history of his grandmother's experience as a domestic worker in the South, gospel music as performed by a white Australian choir, and pedagogy in a performance studies classroom. By exploring the divergent aims and effects of these performances-ranging from resisting racism, sexism, and homophobia to excluding sexual dissidents from the black community-Johnson deftly analyzes the multiple significations of blackness and their myriad political implications. His reflexive account considers his own complicity, as ethnographer and teacher, in authenticating narratives of blackness | ||
| 546 | |a In English | ||
| 650 | 7 | |a BIOGRAPHY & AUTOBIOGRAPHY / Cultural Heritage |2 bisacsh | |
| 650 | 4 | |a African Americans in popular culture | |
| 650 | 4 | |a African Americans |x Intellectual life | |
| 650 | 4 | |a African Americans |x Race identity | |
| 650 | 4 | |a Authenticity (Philosophy) |x Political aspects |z United States | |
| 650 | 4 | |a Performing arts |x Political aspects |z United States | |
| 650 | 4 | |a Performing arts |x Social aspects |z United States | |
| 856 | 4 | 0 | |u https://doi.org/10.1515/9780822385103 |x Verlag |z URL des Erstveröffentlichers |3 Volltext |
| 912 | |a ZDB-23-DGG | ||
| 999 | |a oai:aleph.bib-bvb.de:BVB01-032520288 | ||
| 966 | e | |u https://doi.org/10.1515/9780822385103 |l FAB01 |p ZDB-23-DGG |q FAB_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822385103 |l FAW01 |p ZDB-23-DGG |q FAW_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822385103 |l FCO01 |p ZDB-23-DGG |q FCO_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822385103 |l FHA01 |p ZDB-23-DGG |q FHA_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822385103 |l FKE01 |p ZDB-23-DGG |q FKE_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822385103 |l FLA01 |p ZDB-23-DGG |q FLA_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822385103 |l UPA01 |p ZDB-23-DGG |q UPA_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822385103 |l UBG01 |p ZDB-23-DGG |q UBG_PDA_DGG |x Verlag |3 Volltext | |
Datensatz im Suchindex
| _version_ | 1804182151687569408 |
|---|---|
| adam_txt | |
| any_adam_object | |
| any_adam_object_boolean | |
| author | Johnson, E. Patrick |
| author_facet | Johnson, E. Patrick |
| author_role | aut |
| author_sort | Johnson, E. Patrick |
| author_variant | e p j ep epj |
| building | Verbundindex |
| bvnumber | BV047113858 |
| collection | ZDB-23-DGG |
| ctrlnum | (ZDB-23-DGG)9780822385103 (OCoLC)1235892643 (DE-599)BVBBV047113858 |
| dewey-full | 305.896/073 |
| dewey-hundreds | 300 - Social sciences |
| dewey-ones | 305 - Groups of people |
| dewey-raw | 305.896/073 |
| dewey-search | 305.896/073 |
| dewey-sort | 3305.896 273 |
| dewey-tens | 300 - Social sciences |
| discipline | Soziologie |
| discipline_str_mv | Soziologie |
| doi_str_mv | 10.1515/9780822385103 |
| format | Electronic eBook |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>04145nmm a2200541zc 4500</leader><controlfield tag="001">BV047113858</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">00000000000000.0</controlfield><controlfield tag="007">cr|uuu---uuuuu</controlfield><controlfield tag="008">210129s2003 |||| o||u| ||||||eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9780822385103</subfield><subfield code="9">978-0-8223-8510-3</subfield></datafield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.1515/9780822385103</subfield><subfield code="2">doi</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(ZDB-23-DGG)9780822385103</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1235892643</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV047113858</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-1043</subfield><subfield code="a">DE-1046</subfield><subfield code="a">DE-858</subfield><subfield code="a">DE-Aug4</subfield><subfield code="a">DE-859</subfield><subfield code="a">DE-860</subfield><subfield code="a">DE-473</subfield><subfield code="a">DE-739</subfield></datafield><datafield tag="082" ind1="0" ind2=" "><subfield code="a">305.896/073</subfield><subfield code="2">21</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Johnson, E. Patrick</subfield><subfield code="e">Verfasser</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Appropriating Blackness</subfield><subfield code="b">Performance and the Politics of Authenticity</subfield><subfield code="c">E. Patrick Johnson</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Durham</subfield><subfield code="b">Duke University Press</subfield><subfield code="c">[2003]</subfield></datafield><datafield tag="264" ind1=" " ind2="4"><subfield code="c">© 2003</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 online resource (382 pages)</subfield><subfield code="b">16 b&w photos</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Description based on online resource; title from PDF title page (publisher's Web site, viewed 12. Dez 2020)</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">Performance artist and scholar E. Patrick Johnson's provocative study examines how blackness is appropriated and performed-toward widely divergent ends-both within and outside African American culture. Appropriating Blackness develops from the contention that blackness in the United States is necessarily a politicized identity-avowed and disavowed, attractive and repellent, fixed and malleable. Drawing on performance theory, queer studies, literary analysis, film criticism, and ethnographic fieldwork, Johnson describes how diverse constituencies persistently try to prescribe the boundaries of "authentic" blackness and how performance highlights the futility of such enterprises.Johnson looks at various sites of performed blackness, including Marlon Riggs's influential documentary Black Is . . . Black Ain't and comedic routines by Eddie Murphy, David Alan Grier, and Damon Wayans. He analyzes nationalist writings by Amiri Baraka and Eldridge Cleaver, the vernacular of black gay culture, an oral history of his grandmother's experience as a domestic worker in the South, gospel music as performed by a white Australian choir, and pedagogy in a performance studies classroom. By exploring the divergent aims and effects of these performances-ranging from resisting racism, sexism, and homophobia to excluding sexual dissidents from the black community-Johnson deftly analyzes the multiple significations of blackness and their myriad political implications. His reflexive account considers his own complicity, as ethnographer and teacher, in authenticating narratives of blackness</subfield></datafield><datafield tag="546" ind1=" " ind2=" "><subfield code="a">In English</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">BIOGRAPHY & AUTOBIOGRAPHY / Cultural Heritage</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">African Americans in popular culture</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">African Americans</subfield><subfield code="x">Intellectual life</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">African Americans</subfield><subfield code="x">Race identity</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Authenticity (Philosophy)</subfield><subfield code="x">Political aspects</subfield><subfield code="z">United States</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Performing arts</subfield><subfield code="x">Political aspects</subfield><subfield code="z">United States</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Performing arts</subfield><subfield code="x">Social aspects</subfield><subfield code="z">United States</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.1515/9780822385103</subfield><subfield code="x">Verlag</subfield><subfield code="z">URL des Erstveröffentlichers</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-23-DGG</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-032520288</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822385103</subfield><subfield code="l">FAB01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FAB_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822385103</subfield><subfield code="l">FAW01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FAW_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822385103</subfield><subfield code="l">FCO01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FCO_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822385103</subfield><subfield code="l">FHA01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FHA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822385103</subfield><subfield code="l">FKE01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FKE_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822385103</subfield><subfield code="l">FLA01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FLA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822385103</subfield><subfield code="l">UPA01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">UPA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822385103</subfield><subfield code="l">UBG01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">UBG_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield></record></collection> |
| id | DE-604.BV047113858 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T16:26:55Z |
| indexdate | 2024-07-10T09:03:00Z |
| institution | BVB |
| isbn | 9780822385103 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032520288 |
| oclc_num | 1235892643 |
| open_access_boolean | |
| owner | DE-1043 DE-1046 DE-858 DE-Aug4 DE-859 DE-860 DE-473 DE-BY-UBG DE-739 |
| owner_facet | DE-1043 DE-1046 DE-858 DE-Aug4 DE-859 DE-860 DE-473 DE-BY-UBG DE-739 |
| physical | 1 online resource (382 pages) 16 b&w photos |
| psigel | ZDB-23-DGG ZDB-23-DGG FAB_PDA_DGG ZDB-23-DGG FAW_PDA_DGG ZDB-23-DGG FCO_PDA_DGG ZDB-23-DGG FHA_PDA_DGG ZDB-23-DGG FKE_PDA_DGG ZDB-23-DGG FLA_PDA_DGG ZDB-23-DGG UPA_PDA_DGG ZDB-23-DGG UBG_PDA_DGG |
| publishDate | 2003 |
| publishDateSearch | 2003 |
| publishDateSort | 2003 |
| publisher | Duke University Press |
| record_format | marc |
| spelling | Johnson, E. Patrick Verfasser aut Appropriating Blackness Performance and the Politics of Authenticity E. Patrick Johnson Durham Duke University Press [2003] © 2003 1 online resource (382 pages) 16 b&w photos txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 12. Dez 2020) Performance artist and scholar E. Patrick Johnson's provocative study examines how blackness is appropriated and performed-toward widely divergent ends-both within and outside African American culture. Appropriating Blackness develops from the contention that blackness in the United States is necessarily a politicized identity-avowed and disavowed, attractive and repellent, fixed and malleable. Drawing on performance theory, queer studies, literary analysis, film criticism, and ethnographic fieldwork, Johnson describes how diverse constituencies persistently try to prescribe the boundaries of "authentic" blackness and how performance highlights the futility of such enterprises.Johnson looks at various sites of performed blackness, including Marlon Riggs's influential documentary Black Is . . . Black Ain't and comedic routines by Eddie Murphy, David Alan Grier, and Damon Wayans. He analyzes nationalist writings by Amiri Baraka and Eldridge Cleaver, the vernacular of black gay culture, an oral history of his grandmother's experience as a domestic worker in the South, gospel music as performed by a white Australian choir, and pedagogy in a performance studies classroom. By exploring the divergent aims and effects of these performances-ranging from resisting racism, sexism, and homophobia to excluding sexual dissidents from the black community-Johnson deftly analyzes the multiple significations of blackness and their myriad political implications. His reflexive account considers his own complicity, as ethnographer and teacher, in authenticating narratives of blackness In English BIOGRAPHY & AUTOBIOGRAPHY / Cultural Heritage bisacsh African Americans in popular culture African Americans Intellectual life African Americans Race identity Authenticity (Philosophy) Political aspects United States Performing arts Political aspects United States Performing arts Social aspects United States https://doi.org/10.1515/9780822385103 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Johnson, E. Patrick Appropriating Blackness Performance and the Politics of Authenticity BIOGRAPHY & AUTOBIOGRAPHY / Cultural Heritage bisacsh African Americans in popular culture African Americans Intellectual life African Americans Race identity Authenticity (Philosophy) Political aspects United States Performing arts Political aspects United States Performing arts Social aspects United States |
| title | Appropriating Blackness Performance and the Politics of Authenticity |
| title_auth | Appropriating Blackness Performance and the Politics of Authenticity |
| title_exact_search | Appropriating Blackness Performance and the Politics of Authenticity |
| title_exact_search_txtP | Appropriating Blackness Performance and the Politics of Authenticity |
| title_full | Appropriating Blackness Performance and the Politics of Authenticity E. Patrick Johnson |
| title_fullStr | Appropriating Blackness Performance and the Politics of Authenticity E. Patrick Johnson |
| title_full_unstemmed | Appropriating Blackness Performance and the Politics of Authenticity E. Patrick Johnson |
| title_short | Appropriating Blackness |
| title_sort | appropriating blackness performance and the politics of authenticity |
| title_sub | Performance and the Politics of Authenticity |
| topic | BIOGRAPHY & AUTOBIOGRAPHY / Cultural Heritage bisacsh African Americans in popular culture African Americans Intellectual life African Americans Race identity Authenticity (Philosophy) Political aspects United States Performing arts Political aspects United States Performing arts Social aspects United States |
| topic_facet | BIOGRAPHY & AUTOBIOGRAPHY / Cultural Heritage African Americans in popular culture African Americans Intellectual life African Americans Race identity Authenticity (Philosophy) Political aspects United States Performing arts Political aspects United States Performing arts Social aspects United States |
| url | https://doi.org/10.1515/9780822385103 |
| work_keys_str_mv | AT johnsonepatrick appropriatingblacknessperformanceandthepoliticsofauthenticity |