The Melancholy Of Race

Cheng proposes that racial identification is itself already a melancholic act--a social category that is imaginatively supported through a dynamic of loss and compensation, by which the racial other is at once rejected and retained. Using psychoanalytic theories on mourning and melancholia as inroads into her subject, Cheng offers a closely observed and carefully reasoned account of the minority experience as expressed in works of art by, and about, Asian-Americans and African-Americans. She argues that the racial minority and dominant American culture both suffer from racial melancholia and that this insight is crucial to a productive reimagining of progressive politics.

In this groundbreaking, interdisciplinary study Anne Anlin Cheng argues that we have to understand racial grief not only as the result of racism but also as a foundation for racial identity. The Melancholy of Race proposes that racial identification is itself already a melancholic act--a social category that is imaginatively supported through a dynamic of loss and compensation, by which the racial other is at once rejected and retained. Using psychoanalytic theories on mourning and melancholia as inroads into her subject, Cheng offers a closely observed and carefully reasoned account of the minority experience as expressed in works of art by, and about, Asian-Americans and African-Americans. She argues that the racial minority and dominant American culture both suffer from racial melancholia and that this insight is crucial to a productive reimagining of progressive politics. Her discussion ranges from "Flower Drum Song" to "M. Butterfly," Brown v. Board of Education to Anna Deavere Smith's "Twilight," and Invisible Man to The Woman Warrior, in the process demonstrating that racial melancholia permeates our fantasies of citizenship, assimilation, and social health. Her investigations reveal the common interests that social, legal, and literary histories of race have always shared with psychoanalysis, and situates Asian-American and African-American identities in relation to one another within the larger process of American racialization. A provocative look at a timely subject, this study is essential reading for anyone interested in race studies, critical theory, or psychoanalysis.

In this groundbreaking, interdisciplinary study Anne Anlin Cheng argues that we have to understand racial grief not only as the result of racism but also as a foundation for racial identity. The Melancholy of Race proposes that racial identification is itself already a melancholic act--a social category that is imaginatively supported through a dynamic of loss and compensation, by which the racial other is at once rejected and retained. Using psychoanalytic theories on mourning and melancholia as inroads into her subject, Cheng offers a closely observed and carefully reasoned account of the minority experience as expressed in works of art by, and about, Asian-Americans and African-Americans. She argues that the racial minority and dominant American culture both suffer from racial melancholia and that this insight is crucial to a productive reimagining of progressive politics. Her discussion ranges from "Flower Drum Song" to "M. Butterfly," Brown v. Board of Education to Anna Deavere Smith's "Twilight," and Invisible Man to The Woman Warrior, in the process demonstrating that racial melancholia permeates our fantasies of citizenship, assimilation, and social health. Her investigations reveal the common interests that social, legal, and literary histories of race have always shared with psychoanalysis, and situates Asian-American and African-American identities in relation to one another within the larger process of American racialization. A provocative look at a timely subject, this study is essential reading for anyone interested in race studies, critical theory, or psychoanalysis.

Focusing on the cultural and philosophic conflation between the "oriental" and the "ornamental," Ornamentalism offers an original and sustained theory about Asiatic femininity in western culture. This study pushes our vocabulary about the woman of color past the usual platitudes about objectification and past the critique of Orientalism in order to formulate a fresher and sharper understanding of the representation, circulation, and ontology of Asiatic femininity. This book alters the foundational terms of racialized femininity by allowing us to conceptualize race and gender without being solely beholden to flesh or skin. Tracing a direct link between the making of Asiatic femininity and a technological history of synthetic personhood in the West from the nineteenth to the twenty-first century, Ornamentalism demonstrates how the construction of modern personhood in the multiple realms of law, culture, and art has been surprisingly indebted to this very marginal figure and places Asian femininity at the center of an entire epistemology of race. Drawing from and speaking to the multiple fields of feminism, critical race theory, visual culture, performance studies, legal studies, Modernism, Orientalism, Object Studies and New Materialism, Ornamentalism will leave reader with a greater understanding of what it is to exist as a "person-thing" within the contradictions of American culture.

In Racial Melancholia, Racial Dissociation critic David L. Eng and psychotherapist Shinhee Han draw on case histories from the mid-1990s to the present to explore the social and psychic predicaments of Asian American young adults from Generation X to Generation Y. Combining critical race theory with several strands of psychoanalytic thought, they develop the concepts of racial melancholia and racial dissociation to investigate changing processes of loss associated with immigration, displacement, diaspora, and assimilation. These case studies of first- and second-generation Asian Americans deal with a range of difficulties, from depression, suicide, and the politics of coming out to broader issues of the model minority stereotype, transnational adoption, parachute children, colorblind discourses in the United States, and the rise of Asia under globalization. Throughout, Eng and Han link psychoanalysis to larger structural and historical phenomena, illuminating how the study of psychic processes of individuals can inform investigations of race, sexuality, and immigration while creating a more sustained conversation about the social lives of Asian Americans and Asians in the diaspora.

The Encyclopedia of Critical Whiteness Studies in Education offers readers a broad summary of the multifaceted and interdisciplinary field of critical whiteness studies, the study of white racial identities in the context of white supremacy, in education.

A daring cultural and literary studies investigation, Cultural Melancholy explores the legacy of unresolved grief produced by ongoing racial oppression and resistance in the United States. Using acute analysis of literature, drama, musical performance, and films, Singleton demonstrates how rituals of racialization and resistance transfer and transform melancholy discreetly across time, consolidating racial identities and communities along the way. He also argues that this form of impossible mourning binds racialized identities across time and social space by way of cultural resistance efforts. Singleton develops the concept of "cultural melancholy" as a response to scholarship that calls for the separation of critical race studies and psychoanalysis, excludes queer theoretical approaches from readings of African American literatures and cultures, and overlooks the status of racialized performance culture as a site of serious academic theorization. In doing so, he weaves critical race studies, psychoanalysis, queer theory, and performance studies into conversation to uncover a host of hidden dialogues—psychic and social, personal and political, individual and collective—for the purpose of promoting a culture of racial grieving, critical race consciousness, and collective agency. Wide-ranging and theoretically bold, Cultural Melancholy counteracts the racial legacy effects that plague our twenty-first century multiculture.