Conclusion

2020 ◽  
pp. 151-164
Author(s):  
Danielle Fuentes Morgan
Keyword(s):  
United States ◽  
African American ◽  
Black Identity ◽  
First Century ◽  
Saturday Night ◽  
Stand Up Comedy ◽  
Twenty First Century ◽  
Saturday Night Live ◽  
Opening Up

The book concludes with Dave Chappelle and his return to the stand-up comedy stage and Saturday Night Live. It examines a burgeoning sense of African American satire in the twenty-first century as focused not necessarily on inspiring easy laughter but instead on opening up space for Black selfhood. A post-“post-racial” United States demands that our satirists offer productive ways to express Black identity in a world that seems increasingly self-satirizing. This conclusion underscores the idea of kaleidoscopic Blackness and the variety of valid ways of autonomously choosing to express Black identity in the twenty-first century.

Escaping the Folk

2018 ◽  
pp. 148-172
Author(s):  
Kevin D. Greene
Keyword(s):  
United States ◽  
African American ◽  
Black Identity ◽  
Music History ◽  
The United States ◽  
First Century ◽  
Large Field ◽  
Pop Music ◽  
Predominately White ◽  
Black Experience

Since 1955, when a Belgian jazz writer helped scribe the first book investigating Big Bill’s life and music, dozens of artists, scholars, journalists, and enthusiasts have left a long trail of written work dedicated to Broonzy and his past. Well into the twenty-first century, this trend continues. These brokers of Broonzy’s life, music, and public memory have shaped and reshaped his story reflecting each respective generation’s own understandings of race, celebrity, blues music, and the black experience in the United States, among other themes. In a sense, Broonzy has become a cipher for unlocking important questions about authenticity, folklore, black identity, music history, and more to a large field of predominately white authors. For nearly sixty-five years, Big Bill and his history pop up along a long trajectory of studies that have viewed him as an object of intrigue and mystery rather than how he wanted to be remembered. Big Bill was an African American, pre-war, pop music celebrity who built and reached the height of that celebrity recording and performing for black audiences. Unearthing his vague, working class past has prevented history from accepting Big Bill for what he was—an agent of black modernity.

Laughing to Keep from Dying

2020 ◽  
Author(s):  
Danielle Fuentes Morgan
Keyword(s):  
African American ◽  
Identity Formation ◽  
Black Identity ◽  
Interdisciplinary Approach ◽  
First Century ◽  
Interior Space ◽  
Self Identity ◽  
Social Sphere ◽  
Traditional Sense ◽  
Twenty First Century

This book utilizes an interdisciplinary approach to expand the parameters of satire to include the satirization found in twenty-first-century African American forms of expression crossing generic boundaries. While many of these texts and performances are satires or comedies in a traditional sense, some offer the satirization of race itself as a strategy to create space for possible satiric readings. The use of comedy, humor, and satire in these texts and performances incisively problematizes the existing social sphere by highlighting its absurdity in both the reality of racialization and the mythology of the “post-racial.” These texts reveal the irrationality of racialization and critique anxieties surrounding race and Blackness to demonstrate the usefulness of satire as a critical frame for articulating Black selfhood. Here the power of satire is found in “laughing to keep from dying,” a form of revolutionary laughter in two registers. The in-group laughter opens up Black interior space to make room for autonomous Black identity formation. Out-group laughter either indicts the listener or offers protective plausible deniability of “just jokes” in which comedy is feigned to lack sociopolitical meaning. This laughter opens up space for kaleidoscopic Blackness, where all autonomous performances of Black self-identity are valid.

Introduction

2020 ◽  
pp. 1-24
Author(s):  
Danielle Fuentes Morgan
Keyword(s):  
African American ◽  
Lived Experience ◽  
Ethical Behavior ◽  
Black Identity ◽  
First Century ◽  
Racial Justice ◽  
Theoretical Concepts ◽  
Twenty First Century

The introduction offers historical and twenty-first-century context for African American satire and comedy and explains that the diverse generic forms of these satirical readings disrupt our expectations of discrete boundaries between staged performance and lived experience. The contemporary pervasiveness of satire is related to its ability to shape and reshape an understanding of Black identity. Satire in the twenty-first century moves ethics away from theoretical concepts of right and wrong to consider what ethical behavior might look like in practice and how this could impact Black identity and the possibility for racial justice.

Screen Woman

2020 ◽  
pp. 75-103
Author(s):  
Nelly Furman
Keyword(s):  
United States ◽  
South Africa ◽  
African American ◽  
The United States ◽  
First Century ◽  
Film Production ◽  
Charlie Chaplin ◽  
African Film ◽  
Twenty First Century

The international appeal of the story of Carmen on the silver screen has been phenomenal. The story has spawned nearly eighty films by some of the world’s most celebrated directors. In the early days of cinema, we find a first cluster of Carmens among them films directed by Cecil B. Demille, Charlie Chaplin, and Ernest Lubitsch. In 1954, Otto Preminger’s Carmen Jones calls attention to African American issues in the United States, as will in 2001, Carmen: A Hip Opera directed by Robert Towsend for MTV. In 1983, we find a second cluster of international film directed by Jean-Luc Godard (France), Francesco Rosi (Italy) and Carlos Saura (Spain). At the turn of the twenty-first century, Bizet’s heroine appears in two major African film production: Joseph Gaï Ramaka’s Karmen (Senegal) and U-Carmen by the Dimpho Di Kopan theater (South Africa). All these films testify to the continuous attraction of Bizet’s heroine through time from the lyric stage to the silver screen.

Biosurveillance: A Modern Look

2020 ◽  
Vol 11 (1) ◽  
Author(s):  
James Lee Brooks
Keyword(s):  
United States ◽  
Homeland Security ◽  
The United States ◽  
First Century ◽  
Direct Result ◽  
Current State ◽  
Twenty First Century ◽  
Security Operations

AbstractThe early part of the twenty-first century saw a revolution in the field of Homeland Security. The 9/11 attacks, shortly followed thereafter by the Anthrax Attacks, served as a wakeup call to the United States and showed the inadequacy of the current state of the nation’s Homeland Security operations. Biodefense, and as a direct result Biosurveillance, changed dramatically after these tragedies, planting the seeds of fear in the minds of Americans. They were shown that not only could the United States be attacked at any time, but the weapon could be an invisible disease-causing agent.

scholarly journals “Obligations to Negroes who would be kin if they were not Negro”

Daedalus ◽  
2011 ◽  
Vol 140 (1) ◽  
pp. 142-153
Author(s):  
Werner Sollors
Keyword(s):  
Short Stories ◽  
African American ◽  
First Century ◽  
Half Century ◽  
African American Authors ◽  
Twenty First Century ◽  
American Authors

The 1965/1966 Dcedalus issues on “The Negro American” reveal how America's racial future was imagined nearly a half-century ago, and at least one of the prophecies - voiced by sociologist Everett C. Hughes - found its fulfillment in an unexpected way at President Obama's inauguration in 2009. Short stories by Amina Gautier (“Been Meaning to Say” and “Pan is Dead”), Heidi Durrow's novel The Girl WhoFellfrom the Sky, plays by Thomas Bradshaw (Strom Thurmond Is Not a Racist and Cleansed), and poems by Terrance Hayes (“For Brothers and the Dragon” and “The Avocado”) suggest trends in recent works by African American authors who began their publishing careers in the twenty-first century.

On the twenty-first-century wet season projections over the Southeastern United States

2013 ◽  
Vol 13 (S1) ◽  
pp. 153-164 ◽  
Author(s):  
Christopher Selman ◽  
Vasu Misra ◽  
Lydia Stefanova ◽  
Steven Dinapoli ◽  
Thomas J. Smith III
Keyword(s):  
United States ◽  
Southeastern United States ◽  
First Century ◽  
Wet Season ◽  
Twenty First Century

Conclusion: Sincerity Dreams

2017 ◽  
Author(s):  
Ellen Rutten
Keyword(s):  
United States ◽  
Popular Culture ◽  
Western Europe ◽  
The United States ◽  
First Century ◽  
Contemporary Culture ◽  
Cultural Paradigms ◽  
Twenty First Century ◽  
Inclusive Analysis

This conclusion reflects on today's dreams of renewing or revitalizing sincerity and rejects the notion that they are outdated or do not deserve any of our attention. It cites the work of several scholars to show that sincerity is anything but obsolete in twenty-first-century popular culture. Indeed, today's strivings to renew sincerity have not been neglected by scholars such as R. Jay Magill Jr., Epstein, and Yurchak. The rhetoric on new sincerity has been addressed in thoughtful analyses of contemporary culture that have helped the author in crafting a comprehensive and geographically inclusive analysis of present-day sincerity rhetoric. In post-Communist Russia, debates on a shift to late or post-postmodern cultural paradigms are thriving with at least as much fervor as—and possibly more than—in Western Europe or the United States. This conclusion discusses the newly gained insights which the author's sincerity study offers.

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