Played Out : : The Race Man in Twenty-First-Century Satire / / Brandon J. Manning.

Dating back to the blackface minstrel performances of Bert Williams and the trickster figure of Uncle Julius in Charles Chesnutt’s Conjure Tales, black humorists have negotiated American racial ideologies as they reclaimed the ability to represent themselves in the changing landscape of the early 20...

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Superior document:Title is part of eBook package: De Gruyter EBOOK PACKAGE Arts 2022
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Place / Publishing House:New Brunswick, NJ : : Rutgers University Press, , [2022]
©2022
Year of Publication:2022
Language:English
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Physical Description:1 online resource (170 p.) :; 8 b-w images
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245 1 0 |a Played Out :  |b The Race Man in Twenty-First-Century Satire /  |c Brandon J. Manning. 
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505 0 0 |t Frontmatter --   |t Contents --   |t Introduction: Please Let Me Be Misunderstood—Black Masculine Vulnerabilities and the Ruse of Satire --   |t 1 Of Our Satirical Strivings --   |t 2 Neoliberalism and the Funny Race Man --   |t 3 Integrationist Intimacies --   |t 4 The President and His Translator --   |t Conclusion: Beyond the Funny Race Man --   |t Acknowledgments --   |t Notes --   |t Selected Bibliography --   |t Index 
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520 |a Dating back to the blackface minstrel performances of Bert Williams and the trickster figure of Uncle Julius in Charles Chesnutt’s Conjure Tales, black humorists have negotiated American racial ideologies as they reclaimed the ability to represent themselves in the changing landscape of the early 20th century. Marginalized communities routinely use humor, specifically satire, to subvert the political, social, and cultural realities of race and racism in America. Through contemporary examples in popular culture and politics, including the work of Kendrick Lamar, Key and Peele and the presidency of Barack Obama and many others, in Played Out: The Race Man in 21st Century Satire author Brandon J. Manning examines how Black satirists create vulnerability to highlight the inner emotional lives of Black men. In focusing on vulnerability these satirists attend to America’s most basic assumptions about Black men. Contemporary Black satire is a highly visible and celebrated site of black masculine self-expression. Black satirists leverage this visibility to trouble discourses on race and gender in the Post-Civil Rights era. More specifically, contemporary Black satire uses laughter to decenter Black men from the socio-political tradition of the Race Man. 
538 |a Mode of access: Internet via World Wide Web. 
546 |a In English. 
588 0 |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 01. Dez 2022) 
650 0 |a African Americans in the performing arts. 
650 0 |a African Americans  |x Intellectual life. 
650 0 |a African Americans  |x Race identity. 
650 0 |a American fiction  |x African American authors  |x History and criticism. 
650 0 |a Satire, American  |x History and criticism. 
650 7 |a PERFORMING ARTS / General.  |2 bisacsh 
653 |a race, 21st century, Satire, black humorists, blackface, Bert Williams, Uncle Julius, Conjure Tales, 20th Century, black, black men, America, United States, black satire, black masculine interiority, black masculine, Post-Civil Rights Era, community building, catharsis, vulnerability, blackness, masculinity, African American literary, African American, Black satirists, Barack Obama, Obama, Kendrick Lamar, Key and Peele. 
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