04446nam 2200829 a 450 991095901000332120200520144314.00-8135-5540-X0-8135-3536-0(CKB)111090529149004(OCoLC)559470174(CaPaEBR)ebrary10075338(SSID)ssj0000112953(PQKBManifestationID)11128094(PQKBTitleCode)TC0000112953(PQKBWorkID)10111248(PQKB)10135564(MiAaPQ)EBC3032092(Au-PeEL)EBL3032092(CaPaEBR)ebr10075338(OCoLC)55618980(BIP)77576649(BIP)8522164(EXLCZ)9911109052914900420030326d2004 uy 0engurcn|||||||||txtccrBlack women, identity, and cultural theory (un)becoming the subject /Kevin Everod Quashie1st ed.New Brunswick Rutgers University Pressc20041 online resource (241 p.) Bibliographic Level Mode of Issuance: Monograph0-8135-3366-X Includes bibliographical references (p. 207-219) and index.Introduction : what becomes -- The other dancer as self : notes on girlfriend selfhood -- Self(full)ness and the politics of community -- Liminality and selfhood : toward being enough -- An indisputable memory of blackness -- The practice of a memory body -- Toward a language aesthetic -- My own, language -- Conclusion : what is undone.  In Black Women, Identity, and Cultural Theory, Kevin Everod Quashie explores the metaphor of the "girlfriend" as a new way of understanding three central concepts of cultural studies: self, memory, and language. He considers how the work of writers such as Toni Morrison, Ama Ata Aidoo, Dionne Brand, photographer Lorna Simpson, and many others, inform debates over the concept of identity. Quashie argues that these authors and artists replace the notion of a stable, singular identity with the concept of the self developing in a process both communal and perpetually fluid, a relationship that functions in much the same way that an adult woman negotiates with her girlfriend(s). He suggests that memory itself is corporeal, a literal body that is crucial to the process of becoming. Quashie also explores the problem language poses for the black woman artist and her commitment to a mastery that neither colonizes nor excludes. The analysis throughout interacts with schools of thought such as psychoanalysis, postmodernism, and post-colonialism, but ultimately moves beyond these to propose a new cultural aesthetic, one that ultimately aims to center black women and their philosophies. American literatureAfrican American authorsHistory and criticismTheory, etcAmerican literatureWomen authorsHistory and criticismTheory, etcAfrican American womenIntellectual lifeWomen and literatureUnited StatesAfrican American women in literatureIdentity (Psychology) in literatureWomen, BlackIntellectual lifeAfrican American photographersGroup identity in literatureAfrican American aestheticsWomen, Black, in literatureWomen photographersAmerican literatureAfrican American authorsHistory and criticismTheory, etc.American literatureWomen authorsHistory and criticismTheory, etc.African American womenIntellectual life.Women and literatureAfrican American women in literature.Identity (Psychology) in literature.Women, BlackIntellectual life.African American photographers.Group identity in literature.African American aesthetics.Women, Black, in literature.Women photographers.810.9/9287/08996073Quashie Kevin Everod694120MiAaPQMiAaPQMiAaPQBOOK9910959010003321Black women, identity and cultural theory1248511UNINA