Daphne Lamothe (70 results)

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Condition: good. Good condition. A copy that has been read but remains in clean condition. All pages are intact and the cover is intact. The spine and cover may show signs of wear. Pages can include limited notes and highlighting, and the copy can include "From the library of" labels or previous owner inscriptions. 100% GUARANTEE! Shipped with delivery confirmation. If you're not satisfied with purchase please just return it.…

Hardcover. Condition: NEW. Dust Jacket Condition: NEW. First Edition.

Condition: New. 2008. hardcover. . Not a first edition copy. . . . Books ship from the US and Ireland.

Condition: New. 2008. hardcover. . Not a first edition copy. . . .

Paperback. Condition: As New. Text clean and tight; 8vo 8" - 9" tall; 202 pages.

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paperback. Condition: LikeNew. Used Like New, no missing pages, no damage to binding, may have a remainder mark.

Condition: New.

Paperback. Condition: New. The decades following the civil rights and decolonization movements of the sixties and seventies-termed the post-soul era-created new ways to understand the aesthetics of global racial representation. Daphne Lamothe shows that beginning around 1980 and continuing to the present day, Black literature, art, and music resisted the pull of singular and universal notions of racial identity. Developing the idea of "Black aesthetic time"-a multipronged theoretical concept that analyzes the ways race and time collide in the process of cultural production-she assesses Black fiction, poetry, and visual and musical texts by Paule Marshall, Zadie Smith, Tracy K. Smith, Dionne Brand, Toyin Ojih Odutola, and Stromae, among others. Lamothe asks how our understanding of Blackness might expand upon viewing racial representation without borders-or, to use her concept, from the permeable, supple place of Black aesthetic time.Lamothe purposefully focuses on texts told from the vantage point of immigrants, migrants, and city dwellers to conceptualize Blackness as a global phenomenon without assuming the universality or homogeneity of racialized experience. In this new way to analyze Black global art, Lamothe foregrounds migratory subjects poised on thresholds between not only old and new worlds, but old and new selves.…

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Hardcover. Condition: new. New Copy. Customer Service Guaranteed.

Hardcover. Condition: Book fine, Dust jacket fine. 1st. Bound in the publisher's original black cloth with the spine stamped in gilt.

Condition: As New. Unread book in perfect condition.

Condition: New.

Condition: New.

Condition: New. In English.

Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.

Condition: New.

Condition: New.

hardcover. Condition: Very Good.

Paperback. Condition: Brand New. 192 pages. 9.25x6.12x1.00 inches. In Stock.

Hardback. Condition: New. It is no coincidence, Daphne Lamothe writes, that so many black writers and intellectuals of the first half of the twentieth century either trained formally as ethnographers or worked as amateur collectors of folklore and folk culture. In Inventing the New Negro Lamothe explores the process by which key figures such as Zora Neale Hurston, Katherine Dunham, W. E. B. Du Bois, James Weldon Johnson, and Sterling Brown adapted ethnography and folklore in their narratives to create a cohesive, collective, and modern black identity. Lamothe explores how these figures assumed the roles of self-reflective translators and explicators of African American and African diasporic cultures to Western, largely white audiences. Lamothe argues that New Negro writers ultimately shifted the presuppositions of both literary modernism and modernist anthropology by making their narratives as much about ways of understanding as they were about any quest for objective knowledge. In critiquing the ethnographic framework within which they worked, they confronted the classist, racist, and cultural biases of the dominant society and challenged their readers to imagine a different set of relations between the powerful and the oppressed. Inventing the New Negro combines an intellectual history of one of the most important eras of African American letters with nuanced and original readings of seminal works of literature. It will be of interest not only to Harlem Renaissance scholars but to anyone who is interested in the intersections of culture, literature, folklore, and ethnography.…

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: New.

Hardback. Condition: New. It is no coincidence, Daphne Lamothe writes, that so many black writers and intellectuals of the first half of the twentieth century either trained formally as ethnographers or worked as amateur collectors of folklore and folk culture. In Inventing the New Negro Lamothe explores the process by which key figures such as Zora Neale Hurston, Katherine Dunham, W. E. B. Du Bois, James Weldon Johnson, and Sterling Brown adapted ethnography and folklore in their narratives to create a cohesive, collective, and modern black identity. Lamothe explores how these figures assumed the roles of self-reflective translators and explicators of African American and African diasporic cultures to Western, largely white audiences. Lamothe argues that New Negro writers ultimately shifted the presuppositions of both literary modernism and modernist anthropology by making their narratives as much about ways of understanding as they were about any quest for objective knowledge. In critiquing the ethnographic framework within which they worked, they confronted the classist, racist, and cultural biases of the dominant society and challenged their readers to imagine a different set of relations between the powerful and the oppressed. Inventing the New Negro combines an intellectual history of one of the most important eras of African American letters with nuanced and original readings of seminal works of literature. It will be of interest not only to Harlem Renaissance scholars but to anyone who is interested in the intersections of culture, literature, folklore, and ethnography.…

Condition: As New. Unread book in perfect condition.

Taschenbuch. Condition: Neu. Neuware - The decades following the civil rights and decolonization movements of the sixties and seventiestermed the post-soul eracreated new ways to understand the aesthetics of global racial representation. Daphne Lamothe shows that beginning around 1980 and continuing to the present day, Black literature, art, and music resisted the pull of singular and universal notions of racial identity. Developing the idea of 'Black aesthetic time'a multipronged theoretical concept that analyzes the ways race and time collide in the process of cultural productionshe assesses Black fiction, poetry, and visual and musical texts by Paule Marshall, Zadie Smith, Tracy K. Smith, Dionne Brand, Toyin Ojih Odutola, and Stromae, among others. Lamothe asks how our understanding of Blackness might expand upon viewing racial representation without bordersor, to use her concept, from the permeable, supple place of Black aesthetic time.Lamothe purposefully focuses on texts told from the vantage point of immigrants, migrants, and city dwellers to conceptualize Blackness as a global phenomenon without assuming the universality or homogeneity of racialized experience. In this new way to analyze Black global art, Lamothe foregrounds migratory subjects poised on thresholds between not only old and new worlds, but old and new selves.…