Edited By Rochelle Brock, Dara Nix-Stevenson and Paul Chamness Miller
The Critical Black Studies Reader is a ground-breaking volume whose aim is to criticalize and reenvision Black Studies through a critical lens. The book not only stretches the boundaries of knowledge and understanding of issues critical to the Black experience, it creates a theoretical grounding that is intersectional in its approach. Our notion of Black Studies is neither singularly grounded in African American Studies nor on traditional notions of the Black experience. Though situated work in this field has historically
grappled with the question of «where are we?» in Black Studies, this volume offers the reader a type of criticalization that has not occurred to this point. While the volume includes seminal works by authors in the field, as a critical endeavor, the editors have also included pieces that address the political issues that intersect with – among others –
power, race, class, gender, sexuality, religion, place, and economics.
Part 2: Sociopolitical and Cultural Aesthetics in Black Studies
Part 2 sociopolitical and Cultural aesthetics in Black studies an important component to a critical examination of Black studies is its intersection with sociopo-litical power and cultural aesthetics. Part 2 explores these aspects of critical Black studies from a variety of perspectives, including media, education, and literature. roymieco Carter and leila Villaverde, in chapter 6, “Black aesthetics, Fiction, and Future: dis- content While Viewing the disinterest,” employ the method of bricolage to reveal how reality television perpetuates the trope of the “old Negro.” In their unpacking of the past and present, they present to the reader a Black futurology, where one can delve into the “interstices of race, gender, class, culture, sexuality, and the not yet forging open a larger interstellar space to offer a qualifiable better tomorrow.” In chapter 7, “legba, Black studies, and Critical White studies: transforming Critical Thinking at the Crossroads,” John l. Jackson and toni King offer the reader an interesting view on challenging students’ limited ability to think critically about Black studies. Their study is presented through a quali- tative lens of a historically White college setting, where Whiteness is dominant even in Black studies courses. From this study, they developed a “typology of White student resistance in the Black studies Classroom” that is supported by several outcomes that can be expected when Black studies is framed within the context of critical White studies. In chapter 8, “‘Burn hollywood Burn’: The Political economy of degradation Through the Com- modification of representation,” B. l. lozenski explores...
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