Honorable Mention for the National Women’s Studies Association's 2021 Gloria E. Anzaldúa Book Prize
2021 Finalist Best LGBTQ+ Themed Book, International Latino Book Awards
2022 John Leo & Dana Heller Award for Best Single Work, Anthology, Multi-Authored, or Edited Book in LGBTQ Studies, Popular Culture Association
The Alan Bray Memorial Book Prize, GL/Q Caucus, Modern Language Association (MLA)
2022 AAHHE Book of the Year Award, American Association of Hispanics in Higher Education
Within queer, transgender, and Latinx and Chicanx cultural politics, brown transgender narratives are frequently silenced and erased. Brown trans subjects are treated as deceptive, unnatural, nonexistent, or impossible, their bodies, lives, and material circumstances represented through tropes and used as metaphors. Restoring personhood and agency to these subjects, Francisco J. Galarte advances “brown trans figuration” as a theoretical framework to describe how transness and brownness coexist within the larger queer, trans, and Latinx historical experiences.
Brown Trans Figurations presents a collection of representations that reveal the repression of brown trans narratives and make that repression visible and palpable. Galarte examines the violent deaths of two transgender Latinas and the corresponding narratives that emerged about their lives, analyzes the invisibility of brown transmasculinity in Chicana feminist works, and explores how issues such as transgender politics can be imagined as part of Chicanx and Latinx political movements. This book considers the contexts in which brown trans narratives appear, how they circulate, and how they are reproduced in politics, sexual cultures, and racialized economies.
Film noir showcased hard-boiled men and dangerous femmes fatales, rain-slicked city streets, pools of inky darkness cut by shards of light, and, occasionally, jazz. Jazz served as a shorthand for the seduction and risks of the mean streets in early film noir. As working jazz musicians began to compose the scores for and appear in noir films of the 1950s, black musicians found a unique way of asserting their right to participate fully in American life.
Jazz and Cocktails explores the use of jazz in film noir, from its early function as a signifier of danger, sexuality, and otherness to the complex role it plays in film scores in which jazz invites the spectator into the narrative while simultaneously transcending the film and reminding viewers of the world outside the movie theater. Jans B. Wager looks at the work of jazz composers such as Miles Davis, Duke Ellington and Billy Strayhorn, Chico Hamilton, and John Lewis as she analyzes films including Sweet Smell of Success, Elevator to the Gallows, Anatomy of a Murder, Odds Against Tomorrow, and considers the neonoir American Hustle. Wager demonstrates how the evolving role of jazz in film noir reflected cultural changes instigated by black social activism during and after World War II and altered Hollywood representations of race and music.
Many scholars and activists seek to eliminate “race”—the word and the concept—from our vocabulary. Their claim is clear: because science has shown that racial essentialism is false and because the idea of race has proved virulent, we should do away with the concept entirely. Michael O. Hardimon criticizes this line of thinking, arguing that we must recognize the real ways in which race exists in order to revise our understanding of its significance.
Rethinking Race provides a novel answer to the question “What is race?” Pernicious, traditional racialism maintains that people can be judged and ranked according to innate racial features. Hardimon points out that those who would eliminate race make the mistake of associating the word only with this view. He agrees that this concept should be jettisoned, but draws a distinction with three alternative ideas: first, a stripped-down version of the ordinary concept of race that recognizes minimal physical differences between races but does not consider them significant; second, a scientific understanding of populations with shared lines of descent; and third, an acknowledgment of “socialrace” as a separate construction.
Hardimon provides a language for understanding the ways in which races do and do not exist. His account is realistic in recognizing the physical features of races, as well as the existence of races in our social world. But it is deflationary in rejecting the concept of hierarchical or defining racial characteristics. Ultimately, Rethinking Race offers a philosophical basis for repudiating racism without blinding ourselves to reality.
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