By Harry Justin Elam; David Krasner
An anthology of severe writings that explores the intersections of race, theater, and function in America.
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Extra resources for African-American performance and theater history : a critical reader
And Robert E. Hogan, Memory & Cultural Politics (Boston: Northeastern University Press, 1996), 4. 13. Richard Schechner, Between Theater andAnthropology(Philadelphia:University of Pennsylvania Press, 1985), 35. 14. Elin Diamond, Performance & Cultural Politics (New York: Routledge, 1996), 2. 15. Mimi McGurl, unpublished essay, 9. 16. See W. T. : Wesleyan University Press, 1996); and Dale Cockrell, Demons of Disorder (Cambridge: Cambridge University Press, 1997). 17. ” in Questions of Cultural Identity, ed.
Mammy’s function for Stowe is to illustrate the deﬁciencies in Marie St. Clare’s character and to suggest that slavery may abuse blacks, but it also denigrates whites; this portrait underlies Morrison’stheses. ”46 Thus, the presentation of Mammy is a deliberate effort by Stowe to challenge the relationship between white masters and black slaves; this usage suggests the roles Morrison deﬁnes: enabler, mediator of humanity, and enforcer of the implications of whiteness. This role is underscored in Stowe’s representations because in neither the novel nor The Christian Slave does this character speak.
Dyer describes white masculinity as including both light and dark elements, yet it is the triumph of the white aspects, linked to mental or spiritual pursuits, over their corporeal dark opposites that provides the strength of white manhood. The employment of the blackface embodiesthese baser aspects but projects them out of the white body and underlines the white’s mastery of them. Embodied in these images is at once a repulsion of Uncle Tom’s Women 23 the black and a desire for the black. ”14 A similar appropriation occurs in minstrelsy, where whites can take on the spectacular elements of a perceived blackness but just as easily shrug them off.