Michael Eric Dyson
Autor de Tears We Cannot Stop: A Sermon to White America
Sobre El Autor
Michael Eric Dyson dives deeply into the true meaning of Barack Obama's historic presidency and its effects on the changing landscape of race and blackness in America. How has race shaped Obama's identity, career, and presidency? What can we learn from his major race speeches about his approach to mostrar más racial conflict and the black criticism it provokes? Dyson was granted an exclusive interview with the president for this book, and Obama's own voice shines through. Along with interviews with Eric Holder, Al Sharpton, Maxine Waters, and others, this intimate access provides a unique depth to this engrossing analysis of the nation's first black president, and how race shapes and will shape our understanding of his achievements and failures alike. Michael Eric Dyson is a New York Times op-ed contributor, a Georgetown University professor, an MSNBC political analyst, and the best-selling author of seventeen books, including the American Book Award-winning Come Hell or High Water: Hurricane Katrina and the Color of Disaster. mostrar menos
Obras de Michael Eric Dyson
What Truth Sounds Like: Robert F. Kennedy, James Baldwin, and Our Unfinished Conversation About Race in America (2018) 180 copias
The Seven Deadly Sins Set: Consisting of Greed, Gluttony, Envy, Lust, Sloth, Anger, and Pride (2006) 12 copias
Surviving, thriving and reviving in adolescence : research and narratives from the school for student leadership (2017) 3 copias
JAY 1 copia
A Cry From The Heart 1 copia
What The Truth Sounds Like 1 copia
Presidential Race: Barack Obama and the Politics of Color in America (Library Edition) (2013) 1 copia
Who's Afraid of Post-Blackness? 1 copia
Why I Love Black Woman 1 copia
Obras relacionadas
White Fragility: Why It's So Hard for White People to Talk About Racism (2018) — Prólogo, algunas ediciones — 4,328 copias
Say It Louder! Black Voters, White Narratives, and Saving Our Democracy (2020) — Prólogo, algunas ediciones — 41 copias
Audacious Democracy: Labor, Intellectuals, and the Social Reconstruction of America (1997) — Contribuidor — 33 copias
Black Talk, Blue Thoughts, and Walking the Color Line: Dispatches from a Black Journalista (Northeastern Library of… (2011) — Prólogo, algunas ediciones — 27 copias
Beats Rhymes and Life: What We Love and Hate about Hip-Hop (2007) — Prólogo, algunas ediciones — 24 copias
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Conocimiento común
- Nombre canónico
- Dyson, Michael Eric
- Otros nombres
- DYSON, Michael Eric
- Fecha de nacimiento
- 1958-10-23
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- USA
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- Detroit, Michigan, USA
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- Detroit, Michigan, USA
Chicago, Illinois, USA
Durham, North Carolina, USA
Washington, DC, USA - Educación
- Princeton University
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- university professor
sociologist
public intellectual - Organizaciones
- Georgetown University
DePaul University
University of North Carolina at Chapel Hill
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- #7,382
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But yeah: I do now think that his ideas that pride, proper or basically human pride, as a good thing, and white pride as an infamous evil, are complementary and do not militate against each other…. He does talk about Black pride, as a Black person, and having participated in the oft-neglected Black accomplishment of survival in an incredibly colonial/hostile world, right: but he’s not actually arguing that palefaces never have any accomplishment to be proud of, right. He’s literally just saying that we shouldn’t be proud of how we look like slaveholders, you know: that’s a pernicious, false pride. But the classic theologian thing where you’re filled with shame for being a human being isn’t the answer.
And yeah: as an example—and I hope this doesn’t come across as personal animosity: as an actor, (arguably but not exclusively, certainly, in those times) his job was literally to be a sort of type, you know—not quite an archetype, or cross-cultural type, exactly, but a sort of specifically Anglo American type, was how we were meant to implicitly conceptualize it, I think: and certainly he was a handsome individual and a symbol of what Old Hollywood considered charming, but I think James Stewart kinda represented the man who was extremely reticent to accept praise for his own individual accomplishments, but who implicitly wanted to be praised for being the American white man, you know—in other words, he shunned proper or human pride, and accepted in its place white pride, or perhaps male chauvinist pride (of the cultured variety). He represented the neurosis of the time, right.
He certainly did have some personal accomplishments. Aside from his literal acting career, I saw a book in a library yesterday that says he was in WWII—apparently he signed up even before Pearl Harbor: so he must have been both brave and a news junkie, sorry, an informed citizen—and that for his whole life he refused to speak about it and deflected praise about it, and they had to wait until after he was dead to research and write this book. It was a very pro-mythology book, it sounded like, it was called “Mission” and sounded like it referred to him in very romantic/saintly terms, you know. And even onstage, his characters are often kinda…. Like, you’re meant to walk away thinking that if that guy is a hero, ANY white man is a hero, right: it’s not that ~James Stewart~ is a hero, right. Like, as Senator Smith he’s kinda—I mean, people literally make fun of him because he’s a joke—and as George Bailey, he’s sitting around wondering if he’s a bad sort because he didn’t get to fight in the war, right. (!). But the sorta background-pride fills in, you know: there are so few Black actors that it’s hard to get a sense of ‘race’ other than the sheer overwhelming exclusion, right—although nobody of that generation as ‘patriotic’ or whatever as James minded having the Black mammy just kinda being convenient furniture, right, (“It’s a Wonderful Life”), and in the “Mr. Smith” movie you get kinda some examples of his style of masculinity, you know—polite exclusion, a style he seems to embody pretty comfortably, you know; he just delivers the lines perfectly. Like, he literally gives one of those “for a woman, you’re ok” comments—and of course, it’s 1939, so she responds with shock, you know: “you mean I’m not total shit, only 50%? Oh, that’s more than I deserve….”—you know, it’s like…. I mean, it’s two things: one, is that they’re bonding, and so he wants to send this ambivalent message, you know: I want to bond with you; but you’re not me, and you’re not like me: we’re different…. We can hold hands, but our arms have to remain fully extended, right…. But you can work for me. I can assign you tasks to complete for me, because for someone like you, you’re not so bad, you know…. And the other, yeah, is the polite-exclusion-pride that men extended to women: which was also how white people treated Black people, right. (When they weren’t lynching them, of course.)….
So yeah: it’s almost like being a human being—just a concrete, enfleshed, in-the-abstract-capable-of-both-good-or-bad condition, isn’t really the problem, right. It’s almost like the problem is having such contempt for yourself that you deflect praise, pride—and even happiness—and have to demean and shame others to compensate, right.
(pauses, considers this) (waves hands) Nah, it can’t be that….… (más)