Beth A Mccoy
Biographic Data
| ID | 180345 |
|---|---|
| NAME | Beth A Mccoy |
| GIVEN NAMES | Beth A |
| FAMILY NAME | Mccoy |
| SIGNATURE | MCCOY B A |
| AFFILIATIONS | SUNY Geneseo |
| VERIFIED | No |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 4 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1998 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
The sad aperture of the dead
Colson Whitehead’s Zone One (2011) appropriates as its structuring metaphor the architecture of New York City’s African Burial Ground National Monument. More specifically, the novel likens its book form to the Burial Ground memorial’s Ancestral Chamber, a granite portal–an aperture–that offers memorial visitors a glimpse of slavery’s world swirling on the other side. In doing so, Zone One suggests that the book as an object is anti-black, its let…
Flights of Principled Fancy Dress
Flights of Principled Fancy DressSteve Prince's Katrina Suite and the Neo-Slave Narrative Beth A. McCoy (bio) Wakes are processes; through them we think about the dead and about our relations to them; they are rituals through which to enact grief and memory. Wakes allow those among the living to mourn the passing of the dead through ritual; they are the watching of relatives and friends beside the body of the deceased from death to burial and the…
Rumors of Grace
Through the simple expedient of demonizing and reifying the range of colors on a palette, American Africanism makes it possible to say and not say, to inscribe and erase, to escape and engage, to act and act on, to historicize and render timeless. It provides a way of contemplating chaos and civilization, desire and fear, and a mechanism for testing the problems and blessings of freedom. (Morrison, Playing 7; my emphasis) ********** Though mainly…
Manager, Buddy, Delinquent
In its tentative, careful vision of interracial fraternity, Richard Brooks's Blackboard Jungle (1955) resembles an interracial buddy movie, the contemporary genre that has become a late-twentieth-century box-office staple. In Brooks's film, a white middle-class teacher, Richard Dadier (Glenn Ford), battles for the respect and apprentice citizenship of a black working-class student, Gregory Miller (Sidney Poitier). Apparently transcending their di…
Manager, Buddy, Delinquent
In its tentative, careful vision of interracial fraternity, Richard Brooks's Blackboard Jungle (1955) resembles an interracial buddy movie, the contemporary genre that has become a late-twentieth-century box-office staple. In Brooks's film, a white middle-class teacher, Richard Dadier (Glenn Ford), battles for the respect and apprentice citizenship of a black working-class student, Gregory Miller (Sidney Poitier). Apparently transcending their di…
Manager, Buddy, Delinquent
In its tentative, careful vision of interracial fraternity, Richard Brooks's Blackboard Jungle (1955) resembles an interracial buddy movie, the contemporary genre that has become a late-twentieth-century box-office staple. In Brooks's film, a white middle-class teacher, Richard Dadier (Glenn Ford), battles for the respect and apprentice citizenship of a black working-class student, Gregory Miller (Sidney Poitier). Apparently transcending their di…
Rumors of Grace
Through the simple expedient of demonizing and reifying the range of colors on a palette, American Africanism makes it possible to say and not say, to inscribe and erase, to escape and engage, to act and act on, to historicize and render timeless. It provides a way of contemplating chaos and civilization, desire and fear, and a mechanism for testing the problems and blessings of freedom. (Morrison, Playing 7; my emphasis) ********** Though mainly…
Flights of Principled Fancy Dress
Flights of Principled Fancy DressSteve Prince's Katrina Suite and the Neo-Slave Narrative Beth A. McCoy (bio) Wakes are processes; through them we think about the dead and about our relations to them; they are rituals through which to enact grief and memory. Wakes allow those among the living to mourn the passing of the dead through ritual; they are the watching of relatives and friends beside the body of the deceased from death to burial and the…
The sad aperture of the dead
Colson Whitehead’s Zone One (2011) appropriates as its structuring metaphor the architecture of New York City’s African Burial Ground National Monument. More specifically, the novel likens its book form to the Burial Ground memorial’s Ancestral Chamber, a granite portal–an aperture–that offers memorial visitors a glimpse of slavery’s world swirling on the other side. In doing so, Zone One suggests that the book as an object is anti-black, its let…
Art (3 works) · Race, History, and American Society (3 works) · Caribbean history, culture, and politics (2 works) · History (2 works) · Aesthetics (1 work) · Archaeology (1 work) · Art history (1 work) · Blackboard (design pattern (1 work) · Cinema and Media Studies (1 work) · Computer Science (1 work)