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Latin blackness in Parisian visual culture, 1852-1932 /
Latin Blackness in Parisian Visual Culture, 1852-1932 examines an understudied visual language used to portray Latin Americans in mid-19th to early 20th-century Parisian popular visual media. The term 'Latinize' is introduced to connect France's early 19th-century endeavors to create...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
New York, NY :
Bloomsbury Publishing Inc.,
2019.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Intro; Title Page; Copyright Page; Contents; List of Illustrations; Color Plates; Figures; Acknowledgments; Introduction; The term "Latin American"; Why Paris?; Much more than primitivism; Reduced to Latin Americans; Parisian figurations of Blackness from the mid-nineteenth to the early twentieth centuries; Overview of the study; Notes; Chapter 1: Playing Up Blackness and Indianness, Downplaying Europeanness; Editing Francisco Laso: Racializing Spanish and Portuguese Americans; Justified by anthropology: Quatrefages, Hamy, and the casta paintings; Latin American self-representation
- The shifting rastaquouèreMaintaining anthropological interpretations in the early twentieth century; Conclusion; Notes; Chapter 2: Chocolat the Clown: Not Just Black; Chocolat and Footit: Partners in contrast; Chocolat as brand image; Chocolat the contaminant; Chocolat, that special ingredient: The racially mixed object of desire; Complicating notions of minstrelsy; Representations through clothing; Sexualizing Black dandies; Assimilating the Latin; Beyond the circus; Conclusion; Notes; Chapter 3: Alfonso Teofilo Brown: Agency and Complications of Blackness and Europeanness
- Sport and the imagined ideal male bodyBlack boxers in turn-of-the-century France; Gangly Brown; The purity and hybridity of gangly Brown; Brown the gentleman; Images of Black difference; Brown the philanthropist; Conclusion; Notes; Chapter 4: Figari's Blacks: Negotiating French and Latin Blackness; Figari and Paris; Contested Whiteness and the Black body; Conceptualizing regional identity; Through the anthropological gaze; Candombe as framing device; Gender and race in Candombe; Objects as markers; Figari as "naïf" painter; Increasing Latin American presence in Paris
- Perceptions of Black UruguayansFigari's evolution in Paris; Contradictions and contrasts between Figari's paintings and written work; Conclusion; Notes; Coda; Manuscripts and Archives; Newspapers/Journals/Magazines; Primary Sources (Pedro Figari); Secondary Sources; Index