04132nam 22006734 450 991078660440332120140811103210.00-8223-7951-110.1515/9780822379515(CKB)3710000000213968(OCoLC)891395261(CaPaEBR)ebrary10904255(MiAaPQ)EBC3007929885793053(OCoLC)1143749934(MdBmJHUP)muse79624(DE-B1597)554365(DE-B1597)9780822379515(EXLCZ)99371000000021396820140808d1999 uy 0engurcnu||||||||rdacontentrdamediardacarrierAuthentic Blackness the folk in the New Negro renaissance /J. Martin FavorDurham [N.C.] :Duke University Press,1999.1 online resource (197 p.) New Americanists0-8223-2345-1 0-8223-2311-7 Includes bibliographical references (pages [171]-178) and index.1. Discourses of Black Identity: The Elements of Authenticity -- 2. For a Mess of Pottage: James Weldon Johnson's Ex-Colored Man as (In)authentic Man -- 3. "Colored; cold. Wrong somewhere.": Jean Toomer's Cane -- 4. A Clash of Birthrights: Nella Larsen, the Feminine, and African American Identity -- 5. Color, Culture, and the Nature of Race: George S. Schuyler's Black No More -- 6. The Possibilities of Multiplicity: Community, Tradition, and African American Subject PositionsWhat constitutes “blackness” in American culture? And who gets to define whether or not someone is truly African American? Is a struggling hip-hop artist more “authentic” than a conservative Supreme Court justice? In Authentic Blackness J. Martin Favor looks to the New Negro Movement—also known as the Harlem Renaissance—to explore early challenges to the idea that race is a static category.Authentic Blackness looks at the place of the “folk”—those African Americans “furthest down,” in the words of Alain Locke—and how the representation of the folk and the black middle class both spurred the New Negro Movement and became one of its most serious points of contention. Drawing on vernacular theories of African American literature from such figures as Henry Louis Gates Jr. and Houston Baker as well as theorists Judith Butler and Stuart Hall, Favor looks closely at the work of four Harlem Renaissance fiction writers: James Weldon Johnson, Nella Larsen, George Schuyler, and Jean Toomer. Arguing that each of these writers had, at best, an ambiguous relationship to African American folk culture, Favor demonstrates how they each sought to redress the notion of a fixed black identity. Authentic Blackness illustrates how “race” has functioned as a type of performative discourse, a subjectivity that simultaneously builds and conceals its connections with such factors as class, gender, sexuality, and geography.New Americanists.American literatureAfrican American authorsHistory and criticismAmerican literature20th centuryHistory and criticismAfrican Americans in literatureAfrican AmericansRace identityGroup identity in literatureHarlem RenaissanceRace in literatureHarlem (New York, N.Y.)Intellectual life20th centuryAmerican literatureAfrican American authorsHistory and criticism.American literatureHistory and criticism.African Americans in literature.African AmericansRace identity.Group identity in literature.Harlem Renaissance.Race in literature.810.9/896073HU 1728rvkFavor J. Martin1466640NDDNDDBOOK9910786604403321Authentic Blackness3677156UNINA