CS 400R
Racial Icons
An “icon” evokes quasi-religious feelings. Not merely passing celebrity figures, but symbolic lightning rods for public adoration, emulation, identification, disidentification and disdain, celebrity icons are enduring objects of cultural “veneration” and “denigration” (Fleetwood 2015). This is doubly-true for the racial icon, whose iconicity is multiplied by the iconic status of race itself.
This course takes the racial icon as its primary figure of investigation. In so doing, it argues that celebrity is always already raced and gendered, so much as race and gender cohere with ideas about publicity, privacy, and the self-possessed vs. commoditized self. Drawing on scholarship across celebrity studies, audience studies, critical race theory, gender studies, visual cultural studies, and performance studies, we will investigate the racial icon as both object and subject of cultural representation and debate. Figures and topics to be discussed include the diva, the dandy, the ingenue, the Blues Woman, the Race Man, tropical women, mascots and racial kitsch, and glamour. Individual celebrities to be discussed through both scholarly, archival, and creative texts might include Saartjie Baartman, Afong Moy, Pauline Johnson, Josephine Baker, Carmen Miranda, Paul Robeson, Bruce Lee, Selena Quintanilla, and Grace Jones.
An “icon” evokes quasi-religious feelings. Not merely passing celebrity figures, but symbolic lightning rods for public adoration, emulation, identification, disidentification and disdain, celebrity icons are enduring objects of cultural “veneration” and “denigration” (Fleetwood 2015). This is doubly-true for the racial icon, whose iconicity is multiplied by the iconic status of race itself.
This course takes the racial icon as its primary figure of investigation. In so doing, it argues that celebrity is always already raced and gendered, so much as race and gender cohere with ideas about publicity, privacy, and the self-possessed vs. commoditized self. Drawing on scholarship across celebrity studies, audience studies, critical race theory, gender studies, visual cultural studies, and performance studies, we will investigate the racial icon as both object and subject of cultural representation and debate. Figures and topics to be discussed include the diva, the dandy, the ingenue, the Blues Woman, the Race Man, tropical women, mascots and racial kitsch, and glamour. Individual celebrities to be discussed through both scholarly, archival, and creative texts might include Saartjie Baartman, Afong Moy, Pauline Johnson, Josephine Baker, Carmen Miranda, Paul Robeson, Bruce Lee, Selena Quintanilla, and Grace Jones.
An “icon” evokes quasi-religious feelings. Not merely passing celebrity figures, but symbolic lightning rods for public adoration, emulation, identification, disidentification and disdain, celebrity icons are enduring objects of cultural “veneration” and “denigration” (Fleetwood 2015). This is doubly-true for the racial icon, whose iconicity is multiplied by the iconic status of race itself.
This course takes the racial icon as its primary figure of investigation. In so doing, it argues that celebrity is always already raced and gendered, so much as race and gender cohere with ideas about publicity, privacy, and the self-possessed vs. commoditized self. Drawing on scholarship across celebrity studies, audience studies, critical race theory, gender studies, visual cultural studies, and performance studies, we will investigate the racial icon as both object and subject of cultural representation and debate. Figures and topics to be discussed include the diva, the dandy, the ingenue, the Blues Woman, the Race Man, tropical women, mascots and racial kitsch, and glamour. Individual celebrities to be discussed through both scholarly, archival, and creative texts might include Saartjie Baartman, Afong Moy, Pauline Johnson, Josephine Baker, Carmen Miranda, Paul Robeson, Bruce Lee, Selena Quintanilla, and Grace Jones.
