LEADER 04446nam 2200829 a 450 001 9910959010003321 005 20200520144314.0 010 $a0-8135-5540-X 010 $a0-8135-3536-0 035 $a(CKB)111090529149004 035 $a(OCoLC)559470174 035 $a(CaPaEBR)ebrary10075338 035 $a(SSID)ssj0000112953 035 $a(PQKBManifestationID)11128094 035 $a(PQKBTitleCode)TC0000112953 035 $a(PQKBWorkID)10111248 035 $a(PQKB)10135564 035 $a(MiAaPQ)EBC3032092 035 $a(Au-PeEL)EBL3032092 035 $a(CaPaEBR)ebr10075338 035 $a(OCoLC)55618980 035 $a(BIP)77576649 035 $a(BIP)8522164 035 $a(EXLCZ)99111090529149004 100 $a20030326d2004 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aBlack women, identity, and cultural theory $e(un)becoming the subject /$fKevin Everod Quashie 205 $a1st ed. 210 $aNew Brunswick $cRutgers University Press$dc2004 215 $a1 online resource (241 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 08$a0-8135-3366-X 320 $aIncludes bibliographical references (p. 207-219) and index. 327 $aIntroduction : 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. 330 $a  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. 606 $aAmerican literature$xAfrican American authors$xHistory and criticism$xTheory, etc 606 $aAmerican literature$xWomen authors$xHistory and criticism$xTheory, etc 606 $aAfrican American women$xIntellectual life 606 $aWomen and literature$zUnited States 606 $aAfrican American women in literature 606 $aIdentity (Psychology) in literature 606 $aWomen, Black$xIntellectual life 606 $aAfrican American photographers 606 $aGroup identity in literature 606 $aAfrican American aesthetics 606 $aWomen, Black, in literature 606 $aWomen photographers 615 0$aAmerican literature$xAfrican American authors$xHistory and criticism$xTheory, etc. 615 0$aAmerican literature$xWomen authors$xHistory and criticism$xTheory, etc. 615 0$aAfrican American women$xIntellectual life. 615 0$aWomen and literature 615 0$aAfrican American women in literature. 615 0$aIdentity (Psychology) in literature. 615 0$aWomen, Black$xIntellectual life. 615 0$aAfrican American photographers. 615 0$aGroup identity in literature. 615 0$aAfrican American aesthetics. 615 0$aWomen, Black, in literature. 615 0$aWomen photographers. 676 $a810.9/9287/08996073 700 $aQuashie$b Kevin Everod$0694120 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910959010003321 996 $aBlack women, identity and cultural theory$91248511 997 $aUNINA