Download Next to the Color Line: Gender, Sexuality, and W. E. B. Du by Susan Gillman, Alys Eve Weinbaum PDF

By Susan Gillman, Alys Eve Weinbaum

Even supposing W. E. B. Du Bois didn't frequently pursue the connections among the “Negro query” that outlined lots of his highbrow existence and the “woman query” that engaged writers and feminist activists round him, subsequent to the colour Line argues that inside of Du Bois’s paintings is a politics of juxtaposition that connects race, gender, sexuality, and justice. This provocative assortment investigates a suite of political formulations and rhetorical recommendations through which Du Bois approached, used, and repressed problems with gender and sexuality. The essays in subsequent to the colour Line suggest a go back to Du Bois, not just to reconsider his politics but in addition to illustrate his relevance for today’s scholarly and political matters. members: Hazel V. Carby, Yale U; Vilashini Cooppan, U of California, Santa Cruz; Brent Hayes Edwards, Rutgers U; Michele Elam, Stanford U; Roderick A. Ferguson, U of Minnesota; pleasure James, Williams collage; Fred Moten, U of Southern California; Shawn Michelle Smith, St. Louis U; Mason Stokes, Skidmore collage; Claudia Tate, Princeton U; Paul C. Taylor, Temple U. Susan Gillman is professor of literature on the collage of California, Santa Cruz. Alys Eve Weinbaum is affiliate professor of English on the collage of Washington, Seattle.

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Extra resources for Next to the Color Line: Gender, Sexuality, and W. E. B. Du Bois (Critical American Studies)

Sample text

As described in Souls’ final chapter, the ancestral “sorrow-song” enacts a space-time that is the very obverse of progress—lateral not linear, analeptic not proleptic— yet is nonetheless equally dependent on gender for its expressive medium. 15 Reproduction comprises Souls’ deepest, most structuring anxiety, a figurative site to which the text repeatedly returns as if to exorcise a series of historical specters: rape, miscegenation, illegitimacy. Scenes of coerced, illicit, or otherwise unlicensed black female sexuality punctuate the text, with the effect of warning cries issued in the face of racial destruction.

They range over a variety of texts, performances, and visuals that were produced by Du Bois throughout his life, and excavate gendered and sexualized elements in order to juxtapose them with those, defined largely by race and class, that are already familiar to readers. In so doing, these essays reveal the necessity of projects of excavation and juxtaposition to our fuller understanding of Du Bois’s life and work. As a response, they carve out several new potentialities for Du Bois studies: an emerging Du Bois canon for feminist and queer readers, a revised understanding of the relationship between the writing and the life based on the juxtaposition of gender and anti-imperialist internationalism, a challenge to the conventional scholarly tendency to separate Du Bois’s art, science, and activism from each other, and last but not least, these essays offer a reinvigorated approach to the multiplicity of genres and forms that Du Bois employed throughout his long and prolific career.

As described in Souls’ final chapter, the ancestral “sorrow-song” enacts a space-time that is the very obverse of progress—lateral not linear, analeptic not proleptic— yet is nonetheless equally dependent on gender for its expressive medium. 15 Reproduction comprises Souls’ deepest, most structuring anxiety, a figurative site to which the text repeatedly returns as if to exorcise a series of historical specters: rape, miscegenation, illegitimacy. Scenes of coerced, illicit, or otherwise unlicensed black female sexuality punctuate the text, with the effect of warning cries issued in the face of racial destruction.

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