The Michael Eric Dyson Reader 1st Edition by Michael Eric Dyson ISBN 0786725109 9780786725106

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Product details:

ISBN 10: 0786725109

ISBN 13: 9780786725106

Author:  Michael Eric Dyson 

The Michael Eric Dyson Reader 1st Edition: Over the past ten years, the work of Michael Eric Dyson has become the first stop for readers, writers, and thinkers eager for uncommon wisdom on the racial and political dynamics of contemporary America. Whether writing on religion or sexuality or notions of whiteness, on Martin Luther King, Jr. or Tupac Shakur, Dyson’s keen insight and rhetorical flair continue to surprise and challenge. This collection gathers the best of Dyson’s growing body of work: his most incisive commentary, his most stirring passages, and his sharpest, most probing and broadminded critical analyses. From Michael Jordan to Derrida, Ralph Ellison to the diplomacy of Colin Powell, the mastery and ease with which Dyson tackles just about any subject is without parallel.

 

The Michael Eric Dyson Reader 1st Edition Table of contents:

PART ONE: DYSONOGRAPHY

• ONE: NOT FROM SOME ZEUS’ SHEAD: MY INTELLECTUAL DEVELOPMENT
• TWO: LETTER TO MY BROTHER, EVERETT, IN PRISON
• THREE: THIS I BELIEVE

PART TWO: THEORIES OF RACE

• FOUR: THE LIBERAL THEORY OF RACE
• FIVE: WHEN YOU’RE A CREDIT TO YOUR RACE, THE BILL WILL COME DUE: O.J. SIMPSON AND OUR TRIAL BY FIRE

PART THREE: AFFIRMATIVE ACTION

• SIX: DEBATING AFFIRMATIVE ACTION
• SEVEN: A REPRIEVE FOR AFFIRMATIVE ACTION

PART FOUR: MULTICULTURALISM

• EIGHT: LEONARD JEFFRIES AND THE STRUGGLE FOR THE BLACK MIND
• NINE: SHAKESPEARE AND SMOKEY ROBINSON: REVISITING THE CULTURE WARS

PART FIVE: WHITENESS STUDIES

• TEN: THE LABOR OF WHITENESS, THE WHITENESS OF LABOR, AND THE PERILS OF WHITEWISHING
• ELEVEN: GIVING WHITENESS A BLACK EYE

PART SIX: GENDER VIEWS

• TWELVE: THE PLIGHT OF BLACK MEN
• THIRTEEN: ANOTHER SATURDAY NIGHT, OR HAVE ALL THE BROTHERS GONE TO WHITE WOMEN?
• FOURTEEN: IN O.J.’S SHADOW: KOBE BRYANT’S PREDICAMENT

PART SEVEN: AFRO-BAPTIST RADICALISM AND RHETORIC

• FIFTEEN: “GOD ALMIGHTY HAS SPOKEN FROM WASHINGTON, D.C.”: AMERICAN SOCIETY AND CHRISTIAN FAITH
• SIXTEEN: GARDNER TAYLOR: THE POET LAUREATE OF THE AMERICAN PULPIT
• SEVENTEEN: “SOMEWHERE I READ OF THE FREEDOM OF SPEECH”: CONSTRUCTING A UNIQUE VOICE

PART EIGHT: RELIGION AND SEXUALITY

• EIGHTEEN: WHEN YOU DIVIDE BODY AND SOUL, PROBLEMS MULTIPLY: THE BLACK CHURCH AND SEXUALITY
• NINETEEN: HOMOTEXTUALITIES: THE BIBLE, SEXUAL ETHICS, AND THE THEOLOGY OF HOMOEROTICISM

PART NINE: BIOCRITICISM AND BLACK ICONS

• TWENTY: X MARKS THE PLOTS: A CRITICAL READING OF MALCOLM’S READERS
• HERO WORSHIP AND THE CONSTRUCTION OF A BLACK REVOLUTIONARY
• THE VOCATION OF A PUBLIC MORALIST
• PSYCHOBIOGRAPHY AND THE FORCES OF HISTORY
• VOICES IN THE WILDERNESS: REVOLUTIONARY SPARKS AND MALCOLM’S LAST YEAR
• IN THE PRISON OF PRISMS: THE FUTURE OF MALCOLM’S PAST
• TWENTY-ONE: MIXED BLESSINGS: MARTIN LUTHER KING, JR., AND THE LESSONS OF AN AMBIGUOUS HEROISM
• TWENTY-TWO: “GIVE ME A PAPER AND PEN”: TUPAC’S PLACE IN HIP-HOP

PART TEN: CINEMA NOIR

• TWENTY-THREE: SPIKE LEE’S NEONATIONALIST VISION
• TWENTY-FOUR: BETWEEN APOCALYPSE AND REDEMPTION: JOHN SINGLETON’S BOYZ N THE HOOD
• TWENTY-FIVE: GHETTOCENTRICITY AND THE NEW BLACK CINEMA

PART ELEVEN: THE SOUL MUSICS OF BLACK FOLK

• TWENTY-SIX: THE PROMISE AND PERILS OF CONTEMPORARY GOSPEL MUSIC
• TWENTY-SEVEN: MARIAH CAREY AND “AUTHENTIC” BLACK MUSIC
• TWENTY-EIGHT: ARETHA FRANKLIN, VANESSA BELL ARMSTRONG, AND ME
• TWENTY-NINE: THE GREAT NEXT: JAZZ ORIGINS AND THE ANATOMY OF IMPROVISATION

PART TWELVE: HIP-HOP CULTURE

• THIRTY: THE CULTURE OF HIP-HOP
• THIRTY-ONE: GANGSTA RAP AND AMERICAN CULTURE
• THIRTY-TWO: WE NEVER WERE WHAT WE USED TO BE: BLACK YOUTH, POP CULTURE, AND THE POLITICS OF NOSTALGIA

PART THIRTEEN: THE PREDICAMENT OF POSTMODERNITY

• THIRTY-THREE: MICHAEL JACKSON’S POSTMODERN SPIRITUALITY
• THIRTY-FOUR: BE LIKE MIKE? MICHAEL JORDAN AND THE PEDAGOGY OF DESIRE
• THIRTY-FIVE: IS POSTMODERNISM JUST MODERNISM IN DRAG?

PART FOURTEEN: CODA: THE LIFE OF THE MIND

• THIRTY-SIX: IT’S NOT WHAT YOU KNOW, IT’S HOW YOU SHOW IT: BLACK PUBLIC INTELLECTUALS

 

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