Mixed Race Studies

Mestizaje Upside-Down: Aesthetic Politics in Modern Bolivia

University of Pittsburgh Press
May 2004
240 pages
6 x 9
ISBN: 9780822942276

Javier C. Sanjinés, Associate Professor of Latin American Literature and Cultural Studies
University of Michigan

Mestizaje refers to the process of cultural, ethnic, and racial mixture that is part of cultural identity in Latin America. Through a careful study of fiction, political essays, and visual art, this book defines the meaning of mestizaje in the context of the emergence of a modern national and artistic identity in late-19th- and early 20th-century Bolivia.

“El Destierro de los Chinos”: Popular Perspectives of Chinese-Mexican Interracial Marriage as Reflected in Poetry, Cartoon, Comedy, and Corridos

American Historical Association
124th Annual Meeting
Friday, 2010-01-10 11:20 PST (Local Time)
San Diego Marriott Hotel & Marina
Torrey 3 (Marriott)
San Diego, California

Robert Chao Romero, Assistant Professor, Chicana and Chicano Studies
University of California, Los Angeles

Drawing from poetry, cartoons, comedy, and musical recordings of the UCLA Frontera Collection, this paper examines the historical phenomenon of Chinese-Mexican intermarriage through the lense of Mexican popular culture of the early twentieth century. Popular Mexican culture portrayed Chinese cross-cultural marriages as relationships of abuse, slavery, and neglect, and rejected the offspring of such unions as sub-human, degenerative, and unworthy of full inclusion within the Mexican national community. Interracial marriage with prosperous Chinese merchants was scornfully depicted as a shameless short cut by which slothful Mexican women avoided the need to work and secured lives of material comfort. Such popular criticism of Chinese-Mexican interracial marriage, moreover, was often couched within larger discourses of revolutionary economic nationalism. Beyond presenting an historical examination of the phenomenon of Chinese-Mexican interracial marriage, as one important theoretical implication, this paper destabilizes prevalent notions of “mestizaje” within the disciplines of Latin American Studies and Latino Studies. It challenges the “white-brown” binary of traditional racial theory in Latino Studies and sounds a clarion call for further research and discussion related to the important contributions of Chinese, Japanese, African, Middle Eastern, and other overlooked ethnic immigrant groups to the Mexican and cultural melting pot.

The White Blackbird: Miscegenation, Genre, and the Tragic Mulatta in Howells, Harper, and the “Babes of Romance”

Nineteenth-Century Literature
Volume 56, Number 4 (March 2002)
Pages 495–517
DOI 10.1525/ncl.2002.56.4.495

Debra J. Rosenthal, Associate Professor of English
John Carroll University

In this essay I construct a literary genealogy that situates William Dean Howells in the middle of a call-and-response literary conversation with popular women writers about race, gender, and genre. Since Howells correlated racial questions with realism, his only novel that treats intermarriage, An Imperative Duty (1891), offered Howells an opportunity to deploy his presumably objective, scientific, realist knowledge about race in order to challenge women’s romantic miscegenation plots found in Margret Holmes Bates’s The Chamber over the Gate (1886) and Alice Morris Buckner’s Towards the Gulf (1887), two novels that he had recently read and reviewed. Yet the tragic mulatta stereotype, a stock figure of romanticism and sentimentality that was resistant to scientific discourse, ruptures Howells’s goal of representing the figure according to the tenets of realism. In Iola Leroy (1892), Frances Ellen Watkins Harper cunningly recasts the tragic mulatta stereotype both to critique Howells’s project and to represent the potential of black womanhood. Knowledge of Bates and Buckner can change critical conversation about the influence of women writers on Howells, the understanding of the role of the racialized woman in his fiction, and his conception of the link between the romantic mulatta and realist representation. Likewise, Harper takes issue with Howells’s supposed ironic sophistication about race, and in Iola Leroy she rewrites many of his views in order to show the ways that miscegenation is at once a novelistic and a national problem.

The Ethics of Identity

Princeton University Press
2004
384 pages
6 x 9
Hardback ISBN: 9780691120362
Paper ISBN: 978-1-4008-2619
e-Book ISBN: 978-1-4008-2619-3

Kwame Anthony Appiah, Laurance S. Rockefeller University Professor of Philosophy and the Center for Human Values
Princeton University

• A New York Times Editors’ Choice
• One of Amazon.com’s Best Nonfiction Books of 2005
• Winner of the 2005 Award for Excellence in Professional/Scholarly Publishing in Philosophy, Association of American Publishers
• Honorable Mention for the 2005 Gustavus Myers Outstanding Book Award, Gustavus Myers Center for the Study of Bigotry and Human Rights

Race, ethnicity, nationality, religion, gender, sexuality: in the past couple of decades, a great deal of attention has been paid to such collective identities. They clamor for recognition and respect, sometimes at the expense of other things we value. But to what extent do “identities” constrain our freedom, our ability to make an individual life, and to what extent do they enable our individuality? In this beautifully written work, renowned philosopher and African Studies scholar Kwame Anthony Appiah draws on thinkers through the ages and across the globe to explore such questions.

The Ethics of Identity takes seriously both the claims of individuality–the task of making a life—and the claims of identity, these large and often abstract social categories through which we define ourselves.

What sort of life one should lead is a subject that has preoccupied moral and political thinkers from Aristotle to Mill. Here, Appiah develops an account of ethics, in just this venerable sense–but an account that connects moral obligations with collective allegiances, our individuality with our identities. As he observes, the question who we are has always been linked to the question what we are.

Adopting a broadly interdisciplinary perspective, Appiah takes aim at the clichés and received ideas amid which talk of identity so often founders. Is “culture” a good? For that matter, does the concept of culture really explain anything? Is diversity of value in itself? Are moral obligations the only kind there are? Has the rhetoric of “human rights” been overstretched? In the end, Appiah’s arguments make it harder to think of the world as divided between the West and the Rest; between locals and cosmopolitans; between Us and Them. The result is a new vision of liberal humanism–one that can accommodate the vagaries and variety that make us human.

Table of Contents

• PREFACE
• Chapter One: The Ethics of Individuality
  • THE GREAT EXPERIMENT—LIBERTY AND INDIVIDUALITY—PLANS OF LIFE–THE SOUL OF THE SERVITOR—SOCIAL CHOICES—INVENTION AND AUTHENTICITY—THE SOCIAL SCRIPTORIUM—ETHICS IN IDENTITY—INDIVIDUALITY AND THE STATE—THE COMMON PURSUIT
• Chapter Two: Autonomy and Its Critics
  • WHAT AUTONOMY DEMANDS—AUTONOMY AS INTOLERANCE—AUTONOMY AGONISTES—THE TWO STANDPOINTS—AGENCY AND THE INTERESTS OF THEORY
• Chapter Three: The Demands of Identity
  • LEARNING HOW TO CURSE—THE STRUCTURE OF SOCIAL IDENTITIES—MILLET MULTICULTURALISM—AUTONOMISM, PLURALISM, NEUTRALISM—A FIRST AMENDMENT EXAMPLE: THE ACCOMMODATIONIST PROGRAM—NEUTRALITY RECONSIDERED—THE LANGUAGE OF RECOGNITION—THE MEDUSA SYNDROME—LIMITS AND PARAMETERS
• Chapter Four: The Trouble with Culture
  • MAKING UP THE DIFFERENCE—IS CULTURE A GOOD?—THE PRESERVATIONIST ETHIC—NEGATION AS AFFIRMATION— THE DIVERSITY PRINCIPLE
• Chapter Five: Soul Making
  • SOULS AND THE STATE—THE SELF-MANAGEMENT CARD—RATIONAL WELL-BEING—IRRATIONAL IDENTITIES—SOUL MAKING AND STEREOTYPES—EDUCATED SOULS—CONFLICTS OVER IDENTITY CLAIMS
• Chapter Six: Rooted Cosmopolitanism
  • A WORLDWIDE WEB–RUTHLESS COSMOPOLITANS–ETHICAL PARTIALITY–TWO CONCEPTS OF OBLIGATION–COSMOPOLITAN PATRIOTISM–CONFRONTATION AND CONVERSATION–RIVALROUS GOODS, RIVALROUS GODS–TRAVELING TALES–GLOBALIZING HUMAN RIGHTS–COSMOPOLITAN CONVERSATION
• ACKNOWLEDGMENTS
• NOTES
• INDEX

Sexual Naturalization: Asian Americans and Miscegenation

Stanford University Press
2005
224 pages
Cloth ISBN-10: 0804747288; ISBN-13: 9780804747288
Paper ISBN-10: 0804747296; ISBN-13: 9780804747295

Susan Koshy, Associate Professor of English and Asian American Studies
University of Illinois, Urbana-Champaign

Sexual Naturalization offers compelling new insights into the racialized constitution of American nationality. In the first major interdisciplinary study of Asian-white miscegenation from the late nineteenth to the end of the twentieth century, Koshy traces the shifting gender and racial hierarchies produced by antimiscegenation laws, and their role in shaping cultural norms. Not only did these laws foster the reproduction of the United States as a white nation, they were paralleled by extraterritorial privileges that facilitated the sexual access of white American men to Asian women overseas. Miscegenation laws thus turned sex acts into race acts and engendered new meanings for both.

Koshy argues that the cultural work performed by narratives of white-Asian miscegenation dramatically transformed the landscape of desire in the United States, inventing new objects and relations of desire that established a powerful hold over U.S. culture, a capture of imaginative space that was out of all proportion to the actual numbers of Asian residents.

Read an excerpt of chapter 1 here.

Table of Contents

• Acknowledgments
• Introduction
• Part One: Sexual Orients and the American National Imaginary
  • Mimic Modernity: “Madame Butterfly” and the Erotics of Informal Empire
  • Eugenic Romances of American Nationhood
• Part Two: Engendering the Hybrid Nation
  • Unincorporated Territories of Desire: Hypercorporeality and Miscegenation in Carlos Bulosan’s Writings
  • Sex Acts as Assimilation Acts: Female Power and Passing in Bharati Mukherjee’s Wife and Jasmine
• Notes
• Bibliography
• Index

Fugitive Vision: Slave Image and Black Identity in Antebellum Narrative

Indiana University Press
2007-12-04
272 pages
30 b&w photos, 6.125 x 9.25
ISBN-13: 978-0-253-34944-6
ISBN: 0-253-34944-3

Michael A. Chaney, Associate Professor of English
Dartmouth College

Analyzing the impact of black abolitionist iconography on early black literature and the formation of black identity, Fugitive Vision examines the writings of Frederick Douglass, William Wells Brown, William and Ellen Craft, Harriet Jacobs, and the slave potter David Drake. Juxtaposing pictorial and literary representations, the book argues that the visual offered an alternative to literacy for current and former slaves, whose works mobilize forms of illustration that subvert dominant representations of slavery by both apologists and abolitionists. From a portrait of Douglass’s mother as Ramses to the incised snatches of proverb and prophesy on Dave the Potter‘s ceramics, the book identifies a “fugitive vision” that reforms our notions of antebellum black identity, literature, and cultural production.

Table of Contents

• List of Illustrations
• Acknowledgments
• Introduction: Looking Beyond and Through the Fugitive Icon
• Part 1. Fugitive Gender: Black Mothers, White Faces, Sanguine Sons
  1. Racing and Erasing the Slave Mother: Frederick Douglass, Parodic Looks, and Ethnographic Illustration
  2. Looking for Slavery at the Crystal Palace: William Wells Brown and the Politics of Exhibition(ism)
  3. The Uses in Seeing: Mobilizing the Portrait in Drag in Running a Thousand Miles for Freedom
• Part 2. Still Moving: Revamped Technologies of Surveillance
  1. Panoramic Bodies: From Banvard‘s Mississippi to Brown’s Iron Collar
  2. The Mulatta in the Camera: Harriet Jacobs’s Historicist Gazing and Dion Boucicault‘s Mulatta Obscura
  3. Throwing Identity in the Poetry-Pottery of Dave the Potter
• Conclusion
• Notes
• Works Cited
• Index

Mestizo Modernism

Rutgers University Press
2003
280 pages
21 b&w illus.
Paper ISBN 0-8135-3217-5
Cloth ISBN 0-8135-3216-7

Tace Hedrick, Associate Professor and Women’s Studies
University of Florida, Gainesville

We use the term “modernism” almost exclusively to characterize the work of European and American writers and artists who struggled to portray a new kind of fractured urban life typified by mechanization and speed. Between the 1880s and 1930s, Latin American artists were similarly engaged-but with a difference. While other modernists drew from “primitive” cultures for an alternative sense of creativity, Latin American modernists were taking a cue from local sources-primarily indigenous and black populations in their own countries. In Mestizo Modernism Tace Hedrick focuses on four key artists who represent Latin American modernism-Peruvian poet César Vallejo, Chilean poet Gabriela Mistral, Mexican muralist Diego Rivera, and Mexican artist Frida Kahlo. Hedrick interrogates what being “modern” and “American” meant for them and illuminates the cultural contexts within which they worked, as well as the formal methods they shared, including the connection they drew between ancient cultures and modern technologies. This look at Latin American artists will force the reconceptualization of what modernism has meant in academic study and what it might mean for future research.

Table of Contents

MESTIZO MODERNISM
SENTIMENTAL MEN
WOMEN’S WORK
BROTHER MEN
CHILDLESS MOTHERS
HYBRID MODERN
Acknowledgments
Notes
Works Cited
Index

Read an excerpt here.

Feminist Readings of Native American Literature: Coming to Voice

University of Arizona Press
1998
181 pages
6.0 x 9.0
Paper ISBN: 978-0-8165-1633-9

Kathleen M. Donovan, Professor and Department Head of English
South Dakota State University, Brookings

Who in a society can speak, and under what circumstances? These questions are at the heart of both Native American literature and feminist literary and cultural theory. Despite the recent explosion of publication in each of these fields, almost nothing has been written to date that explores the links between the two. With Feminist Readings of Native American Literature, Kathleen Donovan takes an important first step in examining how studies in these two fields inform and influence one another. Focusing on the works of N. Scott Momaday, Joy Harjo, Paula Gunn Allen, and others, Donovan analyzes the texts of these well-known writers, weaving a supporting web of feminist criticism throughout. With careful and gracefully offered insights, the book explores the reciprocally illuminating nature of culture and gender issues. The author demonstrates how Canadian women of mixed-blood ancestry achieve a voice through autobiographies and autobiographical novels. Using a framework of feminist reader response theory, she considers an underlying misogyny in the writings of N. Scott Momaday. And in examining commonalities between specific cultures, she discusses how two women of color, Paula Gunn Allen and Toni Morrison, explore representations of femaleness in their respective cultures. By synthesizing a broad spectrum of critical writing that overlaps women’s voices and Native American literature, Donovan expands on the frame of dialogue within feminist literary and cultural theory. Drawing on the related fields of ethnography, ethnopoetics, ecofeminism, and post-colonialism, Feminist Readings of Native American Literature offers the first systematic study of the intersection between two dynamic arenas in literary studies today.

Read an excerpt here.

Dislocating the Color Line: Identity, Hybridity, and Singularity in African-American Narrative

Stanford University Press
1997
280 pages
Cloth ISBN-10: 0804727740; ISBN-13: 9780804727747
Paper ISBN-10: 0804727759; ISBN-13: 9780804727754

Samira Kawash, Associate Professor Women’s and Gender Studies
Rutgers, The State University of New Jersey

Inquiries into the meaning and force of race in American culture have largely focused on questions of identity and difference—What does it mean to have a racial identity? What constitutes racial difference? Such questions assume the basic principle of racial division, which todays seems to be becoming an increasingly bitter and seemingly irreparable chasm between black and white.

This book confronts this contemporary problem by shifting the focus of analysis from understanding differences to analyzing division. It provides a historical context for the recent resurgence of racial division by tracing the path of the color line as it appears in the narrative writings of African-Americans in the nineteenth and twentieth centuries. In readings of slave narratives, “passing novels,” and the writings of Charles Chesnutt and Zora Neale Hurston, the author asks: What is the work of division? How does division work?

The history of the color line in the United States is coeval with that of the nation. The author suggests that throughout this history, the color line has not functioned simply to name biological or cultural difference, but more important, it has served as a principle of division, classification, and order. In this way, the color line marks the inseparability of knowledge and power in a racially demarcated society. The author shows how, from the time of slavery to today, the color line has figured as the locus of such central tenets of American political life as citizenship, subjectivity, community, law, freedom, and justice.

This book seeks not only to understand, but also to bring critical pressure on the interpretations, practices, and assumptions that correspond to and buttress representations of racial difference. The work of dislocating the color line lies in uncovering the uncertainty, the incoherency, and the discontinuity that the common sense of the color line masks, while at the same time elucidating the pressures that transform the contingent relations of the color line into common sense.

One Nation, One Blood: Interracial Marriage in American Fiction, Scandal, and Law, 1820–1870

University of Massachusetts Press
June 2005
288 pages
Cloth ISBN: 978-1-55849-483-1

Karen Woods Weierman, Associate Professor of English
Worcester State University

Examines the roots of a pernicious and persistent American taboo

The proscription against interracial marriage was for many years a flashpoint in American culture. In One Nation, One Blood, Karen Woods Weierman explores this taboo by investigating the traditional link between marriage and property. Her research reveals that the opposition to intermarriage originated in large measure in the nineteenth-century desire for Indian land and African labor. Yet despite the white majority’s overwhelming rejection of nonwhite peoples as marriage partners, citizens, and social equals, nineteenth-century reformers challenged the rule against intermarriage. Dismissing the new “race science” that purported to prove white superiority, reformers held fast to the religious notion of a common humanity and the republican rhetoric of freedom and equality, arguing that God made all people “of one blood.”

The years from 1820 to 1870 marked a crucial period in the history of this prejudice. Tales of interracial marriage recounted in fiction, real-life scandals, and legal statutes figured prominently in public discussion of both slavery and the fate of Native Americans. In Part One of this book, Weierman focuses on Indian-white marriages during the 1820s, when Indian removal became a rallying cry for New England intellectuals.

In Part Two she shifts her attention to black-white marriages from the antebellum period through the early years of Reconstruction. In both cases she finds that the combination of a highly publicized intermarriage scandal, new legislation prohibiting interracial marriage, and fictional portrayals of the ills associated with such unions served to reinforce popular prejudice, justifying the displacement of Indians from their lands and upholding the system of slavery. Even after the demise of slavery, restrictions against intermarriage remained in place in many parts of the country long into the twentieth century. Not until the 1967 Loving v. Virginia decision did the Supreme Court finally rule that such laws were unconstitutional.

Finishing on a contemporary note, Weierman suggests that the stories Americans tell about intermarriage today—stories defining family, racial identity, and citizenship—still reflect a struggle for resources and power.