Black Time and the Aesthetic Possibility of Objects
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A01=Daphne Lamothe
African American Studies
American Studies
Author_Daphne Lamothe
Category=AGA
Category=DSB
Category=DSRC
Category=JBSL
eq_art-fashion-photography
eq_bestseller
eq_biography-true-stories
eq_isMigrated=1
eq_nobargain
eq_non-fiction
eq_society-politics
Literary Studies
Product details
- ISBN 9781469675305
- Weight: 272g
- Dimensions: 155 x 235mm
- Publication Date: 09 Jan 2024
- Publisher: The University of North Carolina Press
- Publication City/Country: US
- Product Form: Hardback
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The decades following the civil rights and decolonization movements of the sixties and seventies—termed the post-soul era—created new ways to understand the aesthetics of global racial representation. Daphne Lamothe shows that beginning around 1980 and continuing to the present day, Black literature, art, and music resisted the pull of singular and universal notions of racial identity. Developing the idea of "Black aesthetic time"—a multipronged theoretical concept that analyzes the ways race and time collide in the process of cultural production—she assesses Black fiction, poetry, and visual and musical texts by Paule Marshall, Zadie Smith, Tracy K. Smith, Dionne Brand, Toyin Ojih Odutola, and Stromae, among others. Lamothe asks how our understanding of Blackness might expand upon viewing racial representation without borders—or, to use her concept, from the permeable, supple place of Black aesthetic time.
Lamothe purposefully focuses on texts told from the vantage point of immigrants, migrants, and city dwellers to conceptualize Blackness as a global phenomenon without assuming the universality or homogeneity of racialized experience. In this new way to analyze Black global art, Lamothe foregrounds migratory subjects poised on thresholds between not only old and new worlds, but old and new selves.
Lamothe purposefully focuses on texts told from the vantage point of immigrants, migrants, and city dwellers to conceptualize Blackness as a global phenomenon without assuming the universality or homogeneity of racialized experience. In this new way to analyze Black global art, Lamothe foregrounds migratory subjects poised on thresholds between not only old and new worlds, but old and new selves.
Daphne Lamothe is professor of Africana studies at Smith College.
