Mixed Race Studies

The talk of Obama as a presidential contender centers on this power to unite. But if Obama’s capacity for racial unification is to be credibly assessed, then the white heritage with which he is intimately familiar must be acknowledged as prominently as his black identity is. His black identity has been imposed without incident and paraded in public with fanfare. Yet, while Obama is known as the first black president of the Harvard Law Review, he in fact is more probably the periodical’s first biracial president. He is celebrated as only the fifth African-American ever elected to the United States Senate, although he is more accurately among a tiny group of Americans of equal black and white heritage who have been elected to the United States Senate. It is as if the well researched and now-officially-recognized racial category for mixed Americans does not exist-or, if it does, never should be taken seriously as a category of its own, lest history be subject to significant revision informed by an enlightened embrace of ethnic distinctions that matter to every American’s identity.

Amos N. Jones, “Black Like Obama: What the Junior Illinois Senator’s Appearance on the National Scene Reveals About Race in America, and Where We Should Go from Here,” Thurgood Marshall Law Review, Volume 31 (2005): 84-85.

Black Like Obama: What the Junior Illinois Senator’s Appearance on the National Scene Reveals About Race in America, and Where We Should Go from Here

Thurgood Marshall Law Review
Volume 31 (2005)
pages 79-100

Amos N. Jones, Professor of Law
Campbell University, Raleigh, North Carolina

Given Americans’ warm bipartisan response to Senator Barack Obama’s keynote address at the 2004 Democratic National Convention, the realist is constrained to applaud with them. The fact that voters of all ethnicities enthusiastically back a man apparently black who, at first glance, is fairly critical of the status quo indicates that the country is more open-minded than it used to be. Once the applause has subsided, however, the realist is further constrained to take a hard look at the facts as opposed to the rhetoric accompanying Obama’s stardom. His globetrotting memoir and media appearances, while uplifting and entertaining, have proved unsatisfactory in delivering the obviously critical thinker’s original answer to the big question that has remained unaddressed since the euphoria of 2004, when numerous journalists proclaimed Obama the new black political hope: When, how, and why did Barack Obama become black?

This essay contextualizes Obama’s popular personal story within the messy legal and social framework created by centuries of slavery and Jim Crow segregation in America. It opens with a summary of Obama’s identity as presented in his autobiography republished in 2004 and proceeds through a specific review of racial classifications in American legal history, raising the question whether Obama should even be counted as a black man. After explaining the history of the “one-drop rule” given legal force by a rarely considered holding of Plessy v. Ferguson that remains good law even today, the essay criticizes the thoughtless imposition of the black label upon Obama, suggesting possible reasons for his allowing Americans to minimize or ignore his substantially more dominant white heritage. Without suggesting specific regimes for categorization, the essay concludes by arguing that the time has come for public and private law to recognize different degrees of blackness, especially now that the country’s census allows Americans to categorize themselves in more than one racial group…

Read the entire article here.

Pictures and Progress: Early Photography and the Making of African American Identity

Duke University Press
2012
400 pages
71 photographs
Paperback ISBN: 978-0-8223-5085-9
Cloth ISBN: 978-0-8223-5067-5

Edited by:

Maurice O. Wallace, Associate Professor of English and African & African American Studies
Duke University

Shawn Michelle Smith, Associate Professor of Visual and Critical Studies
School of the Art Institute of Chicago

Pictures and Progress explores how, during the nineteenth century and the early twentieth, prominent African American intellectuals and activists understood photography’s power to shape perceptions about race and employed the new medium in their quest for social and political justice. They sought both to counter widely circulating racist imagery and to use self-representation as a means of empowerment. In this collection of essays, scholars from various disciplines consider figures including Frederick Douglass, Sojourner Truth, Ida B. Wells, Paul Laurence Dunbar, and W. E. B. Du Bois as important and innovative theorists and practitioners of photography. In addition, brief interpretive essays, or “snapshots,” highlight and analyze the work of four early African American photographers. Featuring more than seventy images, Pictures and Progress brings to light the wide-ranging practices of early African American photography, as well as the effects of photography on racialized thinking.

Contributors. Michael A. Chaney, Cheryl Finley, P. Gabrielle Foreman, Ginger Hill, Leigh Raiford, Augusta Rohrbach, Ray Sapirstein, Suzanne N. Schneider, Shawn Michelle Smith, Laura Wexler, Maurice O. Wallace

Table of Contents

• Acknowledgments
• Introduction: Pictures and Progress / Maurice O. Wallace and Shawn Michelle Smith
• 1. “A More Perfect Likeness”: Frederick Douglass and the Image of the Nation / Laura Wexler
• 2. “Rightly Viewed”: Theorizations of the Self in Frederick Douglass’s Lecture on Pictures / Ginger Hill
• 3. Shadow and Substance: Sojourner Truth in Black and White / Augusta Rohrbach
  • Snapshot 1. Unredeemed Realities: Augustus Washington / Shawn Michelle Smith
• 4. Mulatta Obscura: Camera Tactics and Linda Brent / Michael Chaney
• 5. Who’s Your Mama?: “White” Mulatta Genealogies, Early Photography, and Anti-Passing Narratives of Slavery and Freedom / P. Gabrielle Foreman
• 6. Out from Behind the Mask: Paul Laurence Dunbar, the Hampton Institute Camera Club, and Photographic Performance of Identity / Ray Sapirstein
  • Snapshot 2. Reproducing Black Masculinity: Thomas Askew / Shawn Michelle Smith
• 7. Louis Agassiz and the American School of Ethnoeroticism: Polygenesis, Pornography, and Other “Perfidious Influences” / Suzanne Schneider
• 8. Framing the Black Soldier: Image, Uplift, and the Duplicity of Pictures / Maurice O. Wallace
  • Snapshot 3. Unfixing the Frame(-up): A. P. Bedou / Shawn Michelle Smith
• 9. “Looking at One’s Self through the Eyes of Others”: W. E. B. Du Bois’s Photographs for the Paris Exposition of 1900 / Shawn Michelle Smith
• 10. Ida B. Wells and the Shadow Archive / Leigh Raiford
  • Snapshot 4. The Photographer’s Touch: J. P. Ball / Shawn Michelle Smith
• 11. No More Auction Block for Me! / Cheryl Finley
• Bibliography
• Contributors
• Index

The arresting eye: Race and the detection of deception

University of Southern California
December 2005
282 pages
Publication Number: AAT 3220115
ISBN: 9780542713217

Jinny Huh

A Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (ENGLISH)

With increasing rates of miscegenation and racially invisible bodies, how is race to be determined? This dissertation examines the dynamics and discourse of race detection through a comparative analysis of detective fiction and passing narratives, two genres that witnessed a simultaneous rise during the mid-nineteenth century. I argue that the detective fiction genre in many ways prospers and responds to the anxiety of racial indecipherability by creating a systematic method of detection. By examining narratives of detection and passing written by both white and ethnic authors ranging from Arthur Conan Doyle and Earl Derr Biggers to Pauline Hopkins and Winnifred Eaton, among others, this study demonstrates that the politics and mechanics of race detection is highly specific to the eye of the gazer attuned to distinguishing the signs of race. For example, while Dupin and Holmes may exhibit mystically and supernaturally intuitive powers, Pauline Hopkins (author of the first African American detective in Hagar’s Daughter) shows that intuition and race detection is a necessary component of the African American community. On the other hand, Winnifred Eaton (the first Asian American novelist) responds to the obsession with detection by promoting a rhetoric of undetection in the emergence of Asian American fiction. Finally, in response to Eaton’s celebration of undetection within the Asian American context, Earl Derr Biggers’s Charlie Chan series demonstrate the anxieties of promoting an Asian American detective hero during the height of Yellow Peril paranoia.

In addition to examining the politics of race detection in literature, this dissertation also explores how numerous disciplines formulate their own concepts of “racial knowledges” via a discourse of detection (such as film studies, visual studies, law, ethnography, and literary history). As such, through a comparative focus which encompasses multiple levels (19th/20th century, male/female, British/American, African American/Asian American, literature/film), my study also addresses the potential threat and implications of racial erasure to Ethnic Studies specifically and Civil Rights overall.

Table of Contents

• Acknowledgements
• Abstract
• Introduction
• Chapter One: Whispers of Norbury: Sir Arthur Conan Doyle and the Modernist Crisis of Racial (Un)Detection
• Chapter Two: Intuitive Faculties and Racial Clairvoyance: Pauline Hopkins and the Emergence of Multiethnic Detective Fiction
• Chapter Three: The Legacy of Winnifred Eaton: Ethnic Ambidexterity, Undetection as Guerilla Tactics, and the Emergence of Asian American Fiction
• Chapter Four: “The Jaundiced Eye”: Charlie Chan and the Mysterious Disappearance of a Detective Hero
• Bibliography

Purchase the dissertation here.