Michael A Chaney
Datos Biográficos
| ID | 1043372 |
|---|---|
| NOMBRE | Michael A Chaney |
| NOMBRES | Michael A |
| APELLIDO | Chaney |
| FIRMA | CHANEY M A |
| AFILIACIONES | Dartmouth College |
| ORCID | 0009-0004-5650-7617 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 21 |
| TOTAL DE CITAS | 14 |
| TOTAL COMO AUTOR | 21 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1982 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2024 |
| ÍNDICE H | 2 |
Work Requirements
I Knew Then Who I Was. I Was a Negro”
This essay investigates literary and autobiographical representations of the defense of Black-owned property in the face of anti-Black mob violence during the first decades of the twentieth century. In his autobiography, A Man Called White (1948), NAACP leader Walter White represents guns as desperate tools of an always tenuous security marked by the violence of the world wars, lynchings, and racially motivated massacres. The backdrop for these s…
Words, Wares, Names
This article introduces readers to the enslaved African American crafter, David Drake, otherwise known as “Dave the Potter”, who incised poetry, signatures, dates, and sayings onto the stoneware ceramic jugs and plantation storage pots he made (from the 1830 s to the 1860s). In view of the concept of an archive, Dave the Potter’s works are significant as they are made up of writing and plastic arts, words and material. They not only record what h…
The Psychic Hold of Slavery
What would it mean to “get over slavery”? Is such a thing possible? Is it even desirable? Should we perceive the psychic hold of slavery as a set of mental manacles that hold us back from imagining a postracist America? Or could the psychic hold of slavery be understood as a tool, helping us get a grip on the systemic racial inequalities and restricted liberties that persist in the present day? Featuring original essays from an array of establish…
Where Is All My Relation
This book provides a critical introduction to David Drake, or Dave the Potter, an enslaved pottery maker and author of inscribed verses and couplets, who lived and worked in Edgefield, South Carolina, from the 1830s until the Civil War period. Various scholars, artists, and historians in the present volume join together to interpret the meaning of a figure who signed the prodigious vessels he made with the single name “Dave.” Topics in the volume…
Autobiographical Graphic “Novels” of Childhood
Anarchic Strains in the Comics of Ronald Wimberly and Keith Knight
Anarchic Strains in the Comics of Ronald Wimberly and Keith Knight Michael A. Chaney (bio) The stasis—this is our hypothesis—takes place neither in the oikos nor in the polis, neither in the family nor in the city; rather, it constitutes a zone of indifference between the unpolitical space of the family and the political space of the city. In transgressing this threshold, the oikos is politicized; conversely, the polis is "economised," that is, i…
Digression, Slavery, and Failing to Return in the Narrative of the Sufferings of Lewis Clarke
This essay investigates Narrative of the Sufferings of Lewis Clarke (1845) for its digressions. In studying Clarke’s resistance to the “back there” of slavery, this essay locates digression as a topos for enunciating the abstract self and the self-in-relation, which achieve legibility in Clarke’s narrative through rupture, postponement, and misdirection
Slave Memory Without Words in Kyle Baker's Nat Turner
Slave Memory Without Words in Kyle Baker’s Nat Turner Michael A. Chaney (bio) The cover of Nat Turner is a study in visual diachrony. Fusing two distinct styles of representation, it emblematizes a primary objective of the book to bridge chasms of history and memory, fact and inference. The first style may be seen in the simplified, nearly cartoonish hand, which embodies the agent of slave rebellion. It is nondescript and rudely formed with bulbo…
The Concatenate Poetics of Slavery and the Articulate Material of Dave the Potter
The Concatenate Poetics of Slavery and the Articulate Material of Dave the Potter Michael A. Chaney (bio) “traces of the storyteller cling to the story the way the handprints of the potter cling to the clay vessel.” —Walter Benjamin, “The Storyteller” (1936) As the foundation for an economic order based on flexible accumulation and agrarian capitalism, the antebellum slave occupied a pivotal if dichotomous role. Politically mute but commercially …
Heartfelt Thanks to Punch for the Picture
Chaney analyzes cartoons representing slaves and slavery from the British satirical periodical Punch, or the London Charivari to argue that African American readers such as Frederick Douglass engaged in an evolving role as readers, interpreters, and users of Punch's iconographic discourse—even when, after the outbreak of the Civil War, the political sensibilities of the British periodical were no longer sympathetic to the cause of abolition. Read…
Embodying American Slavery in Contemporary Culture
Reviewed by: Embodying American Slavery in Contemporary Culture Michael A. Chaney (bio) Woolfork, Lisa . Embodying American Slavery in Contemporary Culture. Urbana: U of Illinois P, 2009. Argumentatively compact yet refreshingly eclectic in its use of evidence, Embodying American Slavery in Contemporary Culture offers an original contribution to scholarship on the cultural legacies of slavery. As a whole, Woolfork's six chapters argue that repres…
The Diasporan Self
Book Review| December 01 2009 The Diasporan Self: Unbreaking the Circle in Western Black Novels; Dilution Anxiety and the Black Phallus Michael A. Chaney Michael A. Chaney Search for other works by this author on: This Site Google American Literature (2009) 81 (4): 874–876. https://doi.org/10.1215/00029831-2009-064 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Michael A. Chaney; The Diasporan Self: Unbreaking the Circle…
The Cambridge Companion to the African American Slave Narrative
Reviewed by: The Cambridge Companion to the African American Slave Narrative Michael Chaney (bio) Fisch, Audrey. The Cambridge Companion to the African American Slave Narrative. Cambridge: Cambridge UP, 2007. In this companion Audrey Fisch convenes major scholars of African-American literature to comprise a valuable introduction to the slave narrative. Timely, comprehensive, and admirably accessible, the book’s only drawback arises from occasiona…
Drawing on History in Recent African American Graphic Novels
Journal Article Drawing on History in Recent African American Graphic Novels Get access Michael A. Chaney Michael A. Chaney Dartmouth College Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 32, Issue 3, September 2007, Pages 175–200, https://doi.org/10.1093/melus/32.3.175 Published: 01 September 2007
Coloring Whiteness and Blackvoice Minstrelsy
The author argues that the cartoons Static Shock, King of the Hill, and South Park represent appropriations of racially marked cultural forms. Although transgressing traditional boundaries of white masculinity, these representations of interracial exchange demarcate the spatial boundaries of difference that signify the superiority of white subjects
Traveling Harlem's Europe
Traveling Harlem's Europe.· Vagabondage from Slave Narratives to Gwendolyn Bennett's "Wedding Day" and Claude McKay's Banjo Michael A. Chaney While investigating the way racial markers are recoded as class signs in George Schulyer's satire Black No More (1931), Jane Kuenz interprets the sign of Europe as it correlates to Harlem in one of the novel's many ironic inversions: Gone was the almost European atmosphere of every Negro ghetto: the music, …
Dreaming Black/Writing White
Winner of the SAMLA 2001 Book Award Hagar, the Old Testament Egyptian heroine who bore Abraham's son at the behest of Sarah, was traditionally regarded as an African. Yet the literature and paintings of the nineteenth century depicted Hagar as white. During this period, she became a popular subject for writers and artists, with at least thirteen novels published between 1850 and 1913 taking Hagar as their theme. Dreaming Black/Writing White exami…
Picturing the Mother, Claiming Egypt
As many scholars of historical anthropology have noted, in taxonomizing difference, ethnographers (ca. 1820-1870) were drawing and policing the borders of euramerican racial identity and insinuating prescriptive markers for that euramerican in identifying the markings of the Other. [1] Johannes Fabian summarizes this formation of a unified euramerican identity in the following manner: When modem anthropology began construct its Other in terms of …
An Academic Exorcism
Madawaska Twin Barn
Virtually unique to the upper St. John Valley of Maine, the Madawaska twin barn is a large structure consisting of two parallel sections joined to form an “H.” Although the form has its origin in a restricted barn building tradition of nineteenth century Quebec, oral history research and detailed survey suggest that the barn is not the product of direct diffusion. Rather it is a symbol of French Canadian culture adopted during the period between …
Coloring Whiteness and Blackvoice Minstrelsy
The author argues that the cartoons Static Shock, King of the Hill, and South Park represent appropriations of racially marked cultural forms. Although transgressing traditional boundaries of white masculinity, these representations of interracial exchange demarcate the spatial boundaries of difference that signify the superiority of white subjects
Drawing on History in Recent African American Graphic Novels
Journal Article Drawing on History in Recent African American Graphic Novels Get access Michael A. Chaney Michael A. Chaney Dartmouth College Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 32, Issue 3, September 2007, Pages 175–200, https://doi.org/10.1093/melus/32.3.175 Published: 01 September 2007
Where Is All My Relation
This book provides a critical introduction to David Drake, or Dave the Potter, an enslaved pottery maker and author of inscribed verses and couplets, who lived and worked in Edgefield, South Carolina, from the 1830s until the Civil War period. Various scholars, artists, and historians in the present volume join together to interpret the meaning of a figure who signed the prodigious vessels he made with the single name “Dave.” Topics in the volume…
The Concatenate Poetics of Slavery and the Articulate Material of Dave the Potter
The Concatenate Poetics of Slavery and the Articulate Material of Dave the Potter Michael A. Chaney (bio) “traces of the storyteller cling to the story the way the handprints of the potter cling to the clay vessel.” —Walter Benjamin, “The Storyteller” (1936) As the foundation for an economic order based on flexible accumulation and agrarian capitalism, the antebellum slave occupied a pivotal if dichotomous role. Politically mute but commercially …
Heartfelt Thanks to Punch for the Picture
Chaney analyzes cartoons representing slaves and slavery from the British satirical periodical Punch, or the London Charivari to argue that African American readers such as Frederick Douglass engaged in an evolving role as readers, interpreters, and users of Punch's iconographic discourse—even when, after the outbreak of the Civil War, the political sensibilities of the British periodical were no longer sympathetic to the cause of abolition. Read…
Picturing the Mother, Claiming Egypt
As many scholars of historical anthropology have noted, in taxonomizing difference, ethnographers (ca. 1820-1870) were drawing and policing the borders of euramerican racial identity and insinuating prescriptive markers for that euramerican in identifying the markings of the Other. [1] Johannes Fabian summarizes this formation of a unified euramerican identity in the following manner: When modem anthropology began construct its Other in terms of …
Madawaska Twin Barn
Virtually unique to the upper St. John Valley of Maine, the Madawaska twin barn is a large structure consisting of two parallel sections joined to form an “H.” Although the form has its origin in a restricted barn building tradition of nineteenth century Quebec, oral history research and detailed survey suggest that the barn is not the product of direct diffusion. Rather it is a symbol of French Canadian culture adopted during the period between …
An Academic Exorcism
Dreaming Black/Writing White
Winner of the SAMLA 2001 Book Award Hagar, the Old Testament Egyptian heroine who bore Abraham's son at the behest of Sarah, was traditionally regarded as an African. Yet the literature and paintings of the nineteenth century depicted Hagar as white. During this period, she became a popular subject for writers and artists, with at least thirteen novels published between 1850 and 1913 taking Hagar as their theme. Dreaming Black/Writing White exami…
Picturing the Mother, Claiming Egypt
As many scholars of historical anthropology have noted, in taxonomizing difference, ethnographers (ca. 1820-1870) were drawing and policing the borders of euramerican racial identity and insinuating prescriptive markers for that euramerican in identifying the markings of the Other. [1] Johannes Fabian summarizes this formation of a unified euramerican identity in the following manner: When modem anthropology began construct its Other in terms of …
Traveling Harlem's Europe
Traveling Harlem's Europe.· Vagabondage from Slave Narratives to Gwendolyn Bennett's "Wedding Day" and Claude McKay's Banjo Michael A. Chaney While investigating the way racial markers are recoded as class signs in George Schulyer's satire Black No More (1931), Jane Kuenz interprets the sign of Europe as it correlates to Harlem in one of the novel's many ironic inversions: Gone was the almost European atmosphere of every Negro ghetto: the music, …
Coloring Whiteness and Blackvoice Minstrelsy
The author argues that the cartoons Static Shock, King of the Hill, and South Park represent appropriations of racially marked cultural forms. Although transgressing traditional boundaries of white masculinity, these representations of interracial exchange demarcate the spatial boundaries of difference that signify the superiority of white subjects
Drawing on History in Recent African American Graphic Novels
Journal Article Drawing on History in Recent African American Graphic Novels Get access Michael A. Chaney Michael A. Chaney Dartmouth College Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 32, Issue 3, September 2007, Pages 175–200, https://doi.org/10.1093/melus/32.3.175 Published: 01 September 2007
The Diasporan Self
Book Review| December 01 2009 The Diasporan Self: Unbreaking the Circle in Western Black Novels; Dilution Anxiety and the Black Phallus Michael A. Chaney Michael A. Chaney Search for other works by this author on: This Site Google American Literature (2009) 81 (4): 874–876. https://doi.org/10.1215/00029831-2009-064 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Michael A. Chaney; The Diasporan Self: Unbreaking the Circle…
The Cambridge Companion to the African American Slave Narrative
Reviewed by: The Cambridge Companion to the African American Slave Narrative Michael Chaney (bio) Fisch, Audrey. The Cambridge Companion to the African American Slave Narrative. Cambridge: Cambridge UP, 2007. In this companion Audrey Fisch convenes major scholars of African-American literature to comprise a valuable introduction to the slave narrative. Timely, comprehensive, and admirably accessible, the book’s only drawback arises from occasiona…
Heartfelt Thanks to Punch for the Picture
Chaney analyzes cartoons representing slaves and slavery from the British satirical periodical Punch, or the London Charivari to argue that African American readers such as Frederick Douglass engaged in an evolving role as readers, interpreters, and users of Punch's iconographic discourse—even when, after the outbreak of the Civil War, the political sensibilities of the British periodical were no longer sympathetic to the cause of abolition. Read…
Embodying American Slavery in Contemporary Culture
Reviewed by: Embodying American Slavery in Contemporary Culture Michael A. Chaney (bio) Woolfork, Lisa . Embodying American Slavery in Contemporary Culture. Urbana: U of Illinois P, 2009. Argumentatively compact yet refreshingly eclectic in its use of evidence, Embodying American Slavery in Contemporary Culture offers an original contribution to scholarship on the cultural legacies of slavery. As a whole, Woolfork's six chapters argue that repres…
The Concatenate Poetics of Slavery and the Articulate Material of Dave the Potter
The Concatenate Poetics of Slavery and the Articulate Material of Dave the Potter Michael A. Chaney (bio) “traces of the storyteller cling to the story the way the handprints of the potter cling to the clay vessel.” —Walter Benjamin, “The Storyteller” (1936) As the foundation for an economic order based on flexible accumulation and agrarian capitalism, the antebellum slave occupied a pivotal if dichotomous role. Politically mute but commercially …
Slave Memory Without Words in Kyle Baker's Nat Turner
Slave Memory Without Words in Kyle Baker’s Nat Turner Michael A. Chaney (bio) The cover of Nat Turner is a study in visual diachrony. Fusing two distinct styles of representation, it emblematizes a primary objective of the book to bridge chasms of history and memory, fact and inference. The first style may be seen in the simplified, nearly cartoonish hand, which embodies the agent of slave rebellion. It is nondescript and rudely formed with bulbo…
Digression, Slavery, and Failing to Return in the Narrative of the Sufferings of Lewis Clarke
This essay investigates Narrative of the Sufferings of Lewis Clarke (1845) for its digressions. In studying Clarke’s resistance to the “back there” of slavery, this essay locates digression as a topos for enunciating the abstract self and the self-in-relation, which achieve legibility in Clarke’s narrative through rupture, postponement, and misdirection
Autobiographical Graphic “Novels” of Childhood
Anarchic Strains in the Comics of Ronald Wimberly and Keith Knight
Anarchic Strains in the Comics of Ronald Wimberly and Keith Knight Michael A. Chaney (bio) The stasis—this is our hypothesis—takes place neither in the oikos nor in the polis, neither in the family nor in the city; rather, it constitutes a zone of indifference between the unpolitical space of the family and the political space of the city. In transgressing this threshold, the oikos is politicized; conversely, the polis is "economised," that is, i…
Where Is All My Relation
This book provides a critical introduction to David Drake, or Dave the Potter, an enslaved pottery maker and author of inscribed verses and couplets, who lived and worked in Edgefield, South Carolina, from the 1830s until the Civil War period. Various scholars, artists, and historians in the present volume join together to interpret the meaning of a figure who signed the prodigious vessels he made with the single name “Dave.” Topics in the volume…
The Psychic Hold of Slavery
What would it mean to “get over slavery”? Is such a thing possible? Is it even desirable? Should we perceive the psychic hold of slavery as a set of mental manacles that hold us back from imagining a postracist America? Or could the psychic hold of slavery be understood as a tool, helping us get a grip on the systemic racial inequalities and restricted liberties that persist in the present day? Featuring original essays from an array of establish…
Words, Wares, Names
This article introduces readers to the enslaved African American crafter, David Drake, otherwise known as “Dave the Potter”, who incised poetry, signatures, dates, and sayings onto the stoneware ceramic jugs and plantation storage pots he made (from the 1830 s to the 1860s). In view of the concept of an archive, Dave the Potter’s works are significant as they are made up of writing and plastic arts, words and material. They not only record what h…
Work Requirements
I Knew Then Who I Was. I Was a Negro”
This essay investigates literary and autobiographical representations of the defense of Black-owned property in the face of anti-Black mob violence during the first decades of the twentieth century. In his autobiography, A Man Called White (1948), NAACP leader Walter White represents guns as desperate tools of an always tenuous security marked by the violence of the world wars, lynchings, and racially motivated massacres. The backdrop for these s…
Art (17 obras) · History (15 obras) · Literature (10 obras) · Art history (9 obras) · Sociology (8 obras) · History (7 obras) · Race, History, and American Society (7 obras) · Comics and Graphic Narratives (4 obras) · Latin American and Latino Studies (4 obras) · Law (4 obras)