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Acknowledgments | ||
Introduction: "Blackness" and Authenticity: What's Performance Got to Do with It? | 1 | |
1 | The Pot Is Brewing: Marlon Riggs's Black Is ... Black Ain't | 17 |
2 | Manifest Faggotry: Queering Masculinity in African American Culture | 48 |
3 | Mother Knows Best: Blackness and Transgressive Domestic Space | 76 |
4 | "Nevah Had uh Cross Word": Mammy and the Trope of Black Womanhood | 104 |
5 | Sounds of Blackness Down Under: The Cafe of the Gate of Salvation | 160 |
6 | Performance and/as Pedagogy: Performing Blackness in the Classroom | 219 |
App. A | Mary Rhyne's Narrative | 257 |
App. B | Interview with Mrs. Smith | 311 |
Notes | 315 | |
Bibliography | 345 | |
Index | 361 |
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Add 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 cont, Appropriating Blackness: Performance and the Politics of Authenticity to the inventory that you are selling on WonderClubX
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Add 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 cont, Appropriating Blackness: Performance and the Politics of Authenticity to your collection on WonderClub |