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• W145647923 abstract "ONE AREA OF MARKED OVERLAP in examinations of race in Renaissance studies and of antebellum minstrelsy alike is an interest in whether or not representations of blackness--however early is defined--might stage authentic of black identities and perspectives. As Eric Lott noted in his study, Love and Theft: Blackface Minstrelsy and American Working Class (1993), earliest historians of minstrelsy assum[ed] ... that scurrilous representations of black were scrupulously authentic. (1) In response to generations of what Lott called revisionist critics who thereafter aimed at revealing minstrelsy's patent inauthenticity, its northern origins, [and] its self-evidently dominative character, (2) W. T. Lhamon Jr. has been one of chief proponents in last several years of what we might call a counterrevisionist interpretation of minstrelsy by which he sees any racist elements in supposed white egalitarian critiques of elitism as accidental or even as entirely absent. Before rise of fullblown minstrelsy in 1843, Lhamon indeed finds only cross-racial attraction or mutuality, anti-racist dimensions, and inclusive, integrative impulses in American blackface, particularly in T. D. Rice's famed impersonation of blackness through character of Jim Crow. (3) Before we turn to reexamining this romanticized view, such recent counterrevisionist work must be distinguished at outset from previous, more subtle criticism of Lott, which granted minstrelsy's oppressive dimension while simultaneously aiming to complicate previous dualism of interpretations reading tradition as either wholly authentic or hegemonic. (4) Noting that beyond pervasive grotesque racial parody and racial domination was an occasionally sympathetic (if typically condescending) attitude toward black people in blackface minstrelsy, Lott pointed to particular moments in which we may sometimes observe a paradoxical, dialectical flickering of racial insult and racial envy, moments of domination and moments of liberation.... a pattern at times amounting to no more than two faces of racism, at others gesturing toward a specific kind of racial danger, and all constituting a peculiarly American structure of racial feeling. (5) Unfortunately, in inevitable pendulum swing of criticism, Lott's subtle revision has given way to some views in recent work that Lott clearly aimed to differentiate himself from: I am not one of those critics who see in a majority of minstrel songs an unalloyed self-criticism by under cover of blackface, racial parody nearly incidental. (6) He seems here to have anticipated Lhamon's argument that Rice's stereotypical representations do not constitute racial parody but rather an unambiguous, unambivalent acknowledgment of of black culture and perspectives--Rice is, for instance, said to have been translating black experiences for whites in ethnographic skits in which he was copying black gestures to identify ... with them--even as, dubiously, of some black audience members in now newly segregated upper gallery reserved for blacks (in very period in which Jim Crow was already becoming synonymous with segregation) is here somehow recast as partially integrated in compromise then permissible in order to suggest some remarkable inclusiveness in Rice's representations. (7) Without intending to refute Lott's nuanced arguments finding moments of attraction and ambivalence in some minstrelsy (especially since audience interest is, in fact, a major concern in this essay), recent critical excesses warrant a corrective reexamination of limits of assuming identification and via mere representation. Writing in a different, yet ultimately highly relevant context in her work on representation of race in Renaissance England, Dympna Callaghan challenged the fetishistic insistence on in readings of black or Africanist Shakespearean characters like Othello and emphatically cautioned that presence cannot be equated with representation any more than representation can be equated with inclusion. …" @default.
• W145647923 created "2016-06-24" @default.
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• W145647923 date "2010-01-01" @default.
• W145647923 modified "2023-09-23" @default.
• W145647923 title "Black Shakespeareans vs. Minstrel Burlesques: Proper English, Racist Blackface Dialect, and the Contest for Representing Blackness, 1821-1844" @default.
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