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020 _a9780814787076
_qprint
020 _a9780814787090
_qPDF
024 7 _a10.18574/nyu/9780814787090.001.0001
_2doi
035 _a(DE-B1597)9780814787090
035 _a(DE-B1597)547434
035 _a(OCoLC)756634886
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aSOC001000
_2bisacsh
082 0 4 _a305.800973
_qOCoLC
_223/eng/20230216
084 _aonline - DeGruyter
100 1 _aBernstein, Robin
_eautore
245 1 0 _aRacial Innocence :
_bPerforming American Childhood from Slavery to Civil Rights /
_cRobin Bernstein.
264 1 _aNew York, NY :
_bNew York University Press,
_c[2011]
264 4 _c©2011
300 _a1 online resource
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aAmerica and the Long 19th Century ;
_v16
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _a2013 Book Award Winner from the International Research Society in Children's Literature2012 Outstanding Book Award Winner from the Association for Theatre in Higher Education 2012 Winner of the Lois P. Rudnick Book Prize presented by the New England American Studies Association 2012 Runner-Up, John Hope Franklin Publication Prize presented by the American Studies Association2012 Honorable Mention, Distinguished Book Award presented by the Society for the Study of American Women WritersPart of the American Literatures Initiative Series Beginning in the mid nineteenth century in America, childhood became synonymous with innocence-a reversal of the previously-dominant Calvinist belief that children were depraved, sinful creatures. As the idea of childhood innocence took hold, it became racialized: popular culture constructed white children as innocent and vulnerable while excluding black youth from these qualities. Actors, writers, and visual artists then began pairing white children with African American adults and children, thus transferring the quality of innocence to a variety of racial-political projects-a dynamic that Robin Bernstein calls "racial innocence." This phenomenon informed racial formation from the mid nineteenth century through the early twentieth. Racial Innocence takes up a rich archive including books, toys, theatrical props, and domestic knickknacks which Bernstein analyzes as "scriptive things" that invite or prompt historically-located practices while allowing for resistance and social improvisation. Integrating performance studies with literary and visual analysis, Bernstein offers singular readings of theatrical productions from blackface minstrelsy to Uncle Tom's Cabin to The Wonderful Wizard of Oz; literary works by Joel Chandler Harris, Harriet Wilson, and Frances Hodgson Burnett; material culture including Topsy pincushions, Uncle Tom and Little Eva handkerchiefs, and Raggedy Ann dolls; and visual texts ranging from fine portraiture to advertisements for lard substitute. Throughout, Bernstein shows how "innocence" gradually became the exclusive province of white children-until the Civil Rights Movement succeeded not only in legally desegregating public spaces, but in culturally desegregating the concept of childhood itself.Check out the author's blog for the book here.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 01. Nov 2023)
650 7 _aSOCIAL SCIENCE / Ethnic Studies / African American Studies.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://www.degruyter.com/isbn/9780814787090
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780814787090/original
942 _cEB
999 _c201618
_d201618