By Jacqueline Jones Royster, Ann Marie Mann Simpkins
Explores own matters within the research of race, gender, and culture.
In fresh a long time, the suggestions of race, gender, and tradition have come to operate as "calling cards," the phrases in which we announce ourselves as execs and negotiate attractiveness and/or rejection within the educational market. during this quantity, members from composition, literature, rhetoric, literacy, and cultural reviews proportion their reviews and insights as researchers, students, and academics who centralize those suggestions of their paintings. Reflecting intentionally on their lonesome study and school room practices, the members proportion theoretical frameworks, techniques, and methodologies; ponder the standard of the data and the knowledge that their theoretical techniques generate; and handle numerous demanding situations regarding what it really capability to accomplish this kind of paintings either professionally and individually, specially in mild of the ways that we're all raced, gendered, and acculturated.
“Calling playing cards pokes, prods, and pushes on the very query of the connection among the paintings of the academy and social justice. total, [it] has a lot to offer.” — JAC
“Calling Cards … contribut[es] to the turning out to be and significant paintings on id concerns in English experiences … [and] provides us a lesson in studying tips to speak with others approximately our identities.” — Rhetoric Review
"The scholarship that went into developing this paintings is greater. The contributions are clean and display views that experience no longer been outlined as deeply or as sharply in past works, and the book's power is the efficient method within which it builds upon earlier and comparable work." — Keith Gilyard, editor of Race, Rhetoric, and Composition
Contributors contain Valerie Babb, Patrick Bizzaro, Resa Crane Bizzaro, Jami L. Carlacio, Amanda Espinosa-Aguilar, Ann E. eco-friendly, David G. Holmes, Susan Applegate Krouse, Barbara E. L'Eplattenier, Valerie Lee, Shirley Wilson Logan, Joyce Irene Middleton, Joycelyn Moody, Renee M. Moreno, Akhila Ramnarayan, Jacqueline Jones Royster, Ann Marie Mann Simpkins, and Hui Wu.
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Extra info for Calling Cards: Theory and Practice in the Study of Race, Gender, and Culture
Courtesy of Hargrett Rare Book and Manuscript Library/University of Georgia Libraries. Even as late as 1870 images of a victimized whiteness persisted, as this sketch by M. W. Cary illustrates. 4 At the turn of the seventeenth to eighteenth century, narratives of crime and execution equaled the captivity narratives in their power to ﬁx notions of idealized whiteness. Acts of confession, testimonial, and execution were part of a cultural performance in which immense crowds, numbering three to ﬁve thousand by some estimates, became voyeurs to the sins of the criminal and, via the sermons at these events, were encouraged to see themselves in those condemned to die.
Novels such as James Fenimore Cooper’s The Last of the Mohicans (1826) or Lydia Maria Child’s Hobomok (1824) are examples offering two different engagements of racial identity beyond the racial classiﬁcation of white that still manage to emphasize native exoticness against the backdrop of a white norm. Cooper creates a character descending from the frontiersman persona popularized by Daniel Boone. Natty Bumpo throws off the trappings of an English-inspired deﬁnition of Americanness, taking his conceptions instead from his Mohican counterparts and the woods around him; but even though he is dressed in a hunting shirt and is renowned for his knowledge of the forest, he continually asserts that he is “a man without a cross,” thereby dispelling any danger of racial slippage and ensuring the purity of a white identity.
Moreno miseducational policies. For Adriana, it provided an opportunity for her to reveal something she had always known but didn’t have the words or the analytical framework to describe. Thinking back now on the way she related the story, I am convinced she knew far more than she gave herself credit for. I suspect that she was doing some of that critical work long before she came to my classroom. In my class she was able to put together the pieces, and the process was a way for her to heal. Working on the development of a critical consciousness through narrative, telling very personal and at times very particular stories may not be the stuff of “hard” research methodologies.