Laila Haidarali - Brown Beauty: Color, Sex, and Race from the Harlem Renaissance to World War II
Here you can read online Laila Haidarali - Brown Beauty: Color, Sex, and Race from the Harlem Renaissance to World War II full text of the book (entire story) in english for free. Download pdf and epub, get meaning, cover and reviews about this ebook. City: New York, year: 2018, publisher: NYU Press, genre: History / Science. Description of the work, (preface) as well as reviews are available. Best literature library LitArk.com created for fans of good reading and offers a wide selection of genres:
Romance novel
Science fiction
Adventure
Detective
Science
History
Home and family
Prose
Art
Politics
Computer
Non-fiction
Religion
Business
Children
Humor
Choose a favorite category and find really read worthwhile books. Enjoy immersion in the world of imagination, feel the emotions of the characters or learn something new for yourself, make an fascinating discovery.
- Book:Brown Beauty: Color, Sex, and Race from the Harlem Renaissance to World War II
- Author:
- Publisher:NYU Press
- Genre:
- Year:2018
- City:New York
- Rating:5 / 5
- Favourites:Add to favourites
- Your mark:
Brown Beauty: Color, Sex, and Race from the Harlem Renaissance to World War II: summary, description and annotation
We offer to read an annotation, description, summary or preface (depends on what the author of the book "Brown Beauty: Color, Sex, and Race from the Harlem Renaissance to World War II" wrote himself). If you haven't found the necessary information about the book — write in the comments, we will try to find it.
Examines how the media influenced ideas of race and beauty among African American women from the Harlem Renaissance to World War II.
Between the Harlem Renaissance and the end of World War II, a complicated discourse emerged surrounding considerations of appearance of African American women and expressions of race, class, and status. Brown Beauty considers how the media created a beauty ideal for these women, emphasizing different representations and expressions of brown skin.
Haidarali contends that the idea of brown as a respectable shade was carefully constructed through print and visual media in the interwar era. Throughout this period, brownness of skin came to be idealized as the real, representational, and respectable complexion of African American middle class women. Shades of brown became channels that facilitated discussions of race, class, and gender in a way that would develop lasting cultural effects for an ever-modernizing world.
Building on an impressive range of visual and media sourcesfrom newspapers, journals, magazines, and newsletters to commercial advertisingHaidarali locates a complex, and sometimes contradictory, set of cultural values at the core of representations of women, envisioned as brown-skin. She explores how brownness affected socially-mobile New Negro women in the urban environment during the interwar years, showing how the majority of messages on brownness were directed at an aspirant middle-class. By tracing browns changing meanings across this period, and showing how a visual language of brown grew into a dynamic racial shorthand used to denote modern African American womanhood, Brown Beauty demonstrates the myriad values and judgments, compromises and contradictions involved in the social evaluation of women. This book is an eye-opening account of the intense dynamics between racial identity and the influence mass media has on what, and who we consider beautiful.
Between the Harlem Renaissance and the end of World War II, a complicated discourse emerged surrounding considerations of appearance of African American women and expressions of race, class, and status. Brown Beauty considers how the media created a beauty ideal for these women, emphasizing different representations and expressions of brown skin.
Haidarali contends that the idea of brown as a respectable shade was carefully constructed through print and visual media in the interwar era. Throughout this period, brownness of skin came to be idealized as the real, representational, and respectable complexion of African American middle class women. Shades of brown became channels that facilitated discussions of race, class, and gender in a way that would develop lasting cultural effects for an ever-modernizing world.
Building on an impressive range of visual and media sourcesfrom newspapers, journals, magazines, and newsletters to commercial advertisingHaidarali locates a complex, and sometimes contradictory, set of cultural values at the core of representations of women, envisioned as brown-skin. She explores how brownness affected socially-mobile New Negro women in the urban environment during the interwar years, showing how the majority of messages on brownness were directed at an aspirant middle-class. By tracing browns changing meanings across this period, and showing how a visual language of brown grew into a dynamic racial shorthand used to denote modern African American womanhood, Brown Beauty demonstrates the myriad values and judgments, compromises and contradictions involved in the social evaluation of women. This book is an eye-opening account of the intense dynamics between racial identity and the influence mass media has on what, and who we consider beautiful.
Laila Haidarali: author's other books
Who wrote Brown Beauty: Color, Sex, and Race from the Harlem Renaissance to World War II? Find out the surname, the name of the author of the book and a list of all author's works by series.
Andrew M. Fearnley
Cheryl A. Wall
Huggins Nathan Irvin
Alain LeRoy Locke
Lean’tin L. Bracks
Bobbi Brown
Bobbi Brown
Brown Beauty: Color, Sex, and Race from the Harlem Renaissance to World War II — read online for free the complete book (whole text) full work
Below is the text of the book, divided by pages. System saving the place of the last page read, allows you to conveniently read the book "Brown Beauty: Color, Sex, and Race from the Harlem Renaissance to World War II" online for free, without having to search again every time where you left off. Put a bookmark, and you can go to the page where you finished reading at any time.
Light
Font size:
↓
↑
Reset
Interval:
↓
↑
Bookmark:
Make
Brown Beauty
Brown Beauty
Color, Sex, and Race from the Harlem Renaissance to World War II
Laila Haidarali
NEW YORK UNIVERSITY PRESS
New York
NEW YORK UNIVERSITY PRESS
New York
www.nyupress.org
2018 by New York University
All rights reserved
The publisher wishes to thank the Crisis Publishing Co., Inc., the publisher of the magazine of the National Association for the Advancement of Colored People, for the use of the images and material first published in issues of Crisis.
References to Internet websites (URLs) were accurate at the time of writing. Neither the author nor New York University Press is responsible for URLs that may have expired or changed since the manuscript was prepared.
Library of Congress Cataloging-in-Publication Data
Names: Haidarali, Laila, author.
Title: Brown beauty : color, sex, and race from the Harlem Renaissance to World War II / Laila Haidarali.
Other titles: Color, sex, and race from the Harlem Renaissance to World War II
Description: New York : New York University Press, 2018. | Includes bibliographical references and index.
Identifiers: LCCN 2017045026| ISBN 978-1-4798-7510-8 (cl : alk. paper) | ISBN 978-1-4798-0208-1 (pb : alk. paper)
Subjects: LCSH: African American womenRace identity20th century. | African American womenSocial conditions20th century. | Beauty, PersonalSocial aspectsUnited States20th century.
Classification: LCC E185.86 .H225 2018 | DDC 305.48/896073dc23
LC record available at https://lccn.loc.gov/2017045026
New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. We strive to use environmentally responsible suppliers and materials to the greatest extent possible in publishing our books.
Manufactured in the United States of America
10 9 8 7 6 5 4 3 2 1
For my mother, Anisa Grace Haidarali, who taught me of beautys true meanings
Contents
Figures
Figure 2.1. Advertisement for O.K. Colored Doll Company, 1923
Figure 2.2. Josephine Baker doll, 1927
Figure 2.3. Bell Manufacturing advertisement for Brown Skin Dolls, 1923
Figure 2.4. Bethel Manufacturing advertisement for Colored Dolls and Novelties, 1927
Figure 2.5. S. D. Lyons advertisement for India Hair Grower, 1930
Figure 2.6. Kashmir advertisement, 1916
Figure 2.7. S. D. Lyons advertisement for India Hair Grower, circa 1926 and Duncans Business School advertisement for Training, 1926
Figure 3.1. Winold Reiss, Type Study, I (Ancestral), c. 1924
Figure 3.2. A Master of Arts, Crisis cover, July 1924
Figure 3.3. Ermine Casey Bush, Crisis cover, October 1925
Figure 3.4. Photograph from Life, Crisis cover, November 1928
Figure 3.5. Study of a Negro Girl, Crisis cover, July 1925
Figure 3.6. Photographic Study of the Head of a Negro Woman, Crisis cover, November 1925
Figure 3.7. Drawing from Life, Crisis cover, July 1927
Figure 3.8. A North African Cousin of Ours, Crisis cover, May 1926
Figure 3.9. Manilas Queen of Carnival, Crisis cover, March 1925
Figure 3.10. A Colored Graduate of the Philippine Normal School, Crisis cover, July 1926
Figure 3.11. Clarissa Mae Scott, Crisis cover, July 1923
Figure 3.12. Bachelor of Philosophy, Crisis cover, August 1924
Figure 3.13. A Bachelor of Music from Oberlin, Crisis cover, August 1926
Figure 3.14. A Salutatorian, Crisis cover, August 1930
Figure 3.15. A Western School Teacher, Crisis cover, September 1930
Color Plates
Color images are gathered as an insert following chapter 2.
Plate I.1: Winold Reiss, Miss Hurston (Zora Neale Hurston), c. 1925
Plate I.2: Winold Reiss, Elise J. McDougald, 1924
Plate I.3: Winold Reiss, Harlem Girl 1, 1925
Plate I.4: Winold Reiss, Type Study, II (Two Public School Teachers), c. 1925
Plate I.5: Winold Reiss, Brown Madonna, circa 1925
I remember the very day I became colored. Up to my thirteenth year, I lived in a little Negro town of Eatonville, Florida. It is exclusively a colored town. The only white people I knew passed through the town going in or coming from Orlando....
But changes came in the family when I was thirteen, and I was sent to school in Jacksonville. I left Eatonville, the town of the oleanders, as Zora. When I disembarked from the river-boat at Jacksonville, she was no more. It seemed that I had suffered a sea change. I was not Zora of Orange County any more, I was now a little colored girl. I found it out in certain ways. In my heart as well as in my mirror, I became a fast brownwarranted not to rub or run.
... in the main, I feel like a brown bag of miscellany propped against a wall. Against a wall in company with other bags, white, red and yellow. Pour out the contents, and there is discovered a jumble of small things priceless and worthless... a bit of colored glass more or less would not matter. Perhaps that is how the Great Stuffer of bags filled them in the first placewho knows?
Zora Neale Hurston, How It Feels to Be Colored Me (1928; my italics)
In 1928 the nonfiction essay How It Feels to Be Colored Me, Zora Neale Hurston pinpointed the moment she first perceived herself as racially different. On that day, she envisioned herself as brown in complexion and identity. In her account of migration from Eatonville, Floridaa rural all-black townto Jacksonville, Florida, a fast-growing center of Southern urbanism, the Harlem Renaissance writer used brown as the color to enunciate this coming of racial age as the very day she became colored. Published in World Tomorrow, Hurstons essay describes this movement as pivotal in shifting her identity from Zora of Orange County to a little colored girl. In this account, the rapidity of Hurstons racialization, and the accompanying sense of loss of individuality that is not only connected but also defined by place, is dramatic and striking. Still, the author signaled a layering to
Hurstons assessment on what it feels like to be her and colored underscores a view of brownness as both relative and malleable despite its fixed hue. Weighing out her range of responses, Hurston concludes: In the main, I feel like a brown bag of miscellany propped against a wall. Against a wall in company with other bags, white, red and yellow. The bags are objectsdifferent only in their color. Hurston, a trained anthropologist, questions the motivation of the Great Stuffer of Bags, a God-like figure, in creating these differences. Studying the superficial assortment of small things priceless and worthless that constitute and mark those differences, Hurston concludes that a little bit of colo[r]... more or less would not matter. In this instance, color shows through in the material form of glass, which not only refracts light, but, in its mirrored form, also reflects imagery. With this view, the racial identity of the bag (or subject presented as object) emerges as one that has been constructed, internalized, and enacted; the subject too appears passive, willing, and open to reinvention at the hands of an omniscient power that endows its body with first meaning. Yet, there is happenstance in this view of brown and other color notions of race, or bags that are constituted by a series of not-so-readily understood, or fixed, jumble of things. the interwar years, diverse sets of African American women and men, all of whom can be defined as middle-class within this constituencys widely varying class membership, privileged brown complexions in their reworking of ideas, images, and expressions to identify the representative bodies of women as modern New Negro women.
Light
Font size:
↓
↑
Reset
Interval:
↓
↑
Bookmark:
Make
Similar books «Brown Beauty: Color, Sex, and Race from the Harlem Renaissance to World War II»
Look at similar books to Brown Beauty: Color, Sex, and Race from the Harlem Renaissance to World War II. We have selected literature similar in name and meaning in the hope of providing readers with more options to find new, interesting, not yet read works.
Andrew M. Fearnley
Cheryl A. Wall
Huggins Nathan Irvin
Alain LeRoy Locke
Lean’tin L. Bracks
Bobbi Brown
Bobbi Brown
Reviews about «Brown Beauty: Color, Sex, and Race from the Harlem Renaissance to World War II»
Discussion, reviews of the book Brown Beauty: Color, Sex, and Race from the Harlem Renaissance to World War II and just readers' own opinions. Leave your comments, write what you think about the work, its meaning or the main characters. Specify what exactly you liked and what you didn't like, and why you think so.