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The problem of dualism, whether in Du Bois's semi-psychological proposition of two more or less unintegrated consciousnesses existing simultaneously in one body, Dunbar's notion of the masking of one's true nature (with the protoAlthusserian dilemma that Du Bois identifies as only seeing one's self through the eyes of others who see only the mask), or a more strictly legalistic sense of post-Reconstruction Jim Crow segregation, is this problem of being a citizen and yet not a citizen (and, by extension, of being legally human and not quite human at the same time) in an increasingly urbanized and industrialized United States. How does one respond? Through integration or separatism-or through a sort of separate development of a group culture and politics that would enable the group to force itself into the "mainstream" of culture and power in the United States? And if one tries to represent what one might consider the distinctly African (American) portion of black subjectivity, what might that be? The folk culture? Who then defines or constitutes the folk, and how does one allow the folk subject to speak? How does one represent and/or recreate his or her culture without being contaminated by minstrelsy, "coon songs," and plantation literature, by popular and so-called "high" culture appropriation or misappropriation? How does one deal with the doubleness of popular culture as seen in minstrelsy, the cakewalk, the "coon song," ragtime, and the ambivalence of African American minstrel-influenced vaudeville?

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candy essays

Candy essays

The problem of dualism, whether in Du Bois's semi-psychological proposition of two more or less unintegrated consciousnesses existing simultaneously in one body, Dunbar's notion of the masking of one's true nature (with the protoAlthusserian dilemma that Du Bois identifies as only seeing one's self through the eyes of others who see only the mask), or a more strictly legalistic sense of post-Reconstruction Jim Crow segregation, is this problem of being a citizen and yet not a citizen (and, by extension, of being legally human and not quite human at the same time) in an increasingly urbanized and industrialized United States. How does one respond? Through integration or separatism-or through a sort of separate development of a group culture and politics that would enable the group to force itself into the "mainstream" of culture and power in the United States? And if one tries to represent what one might consider the distinctly African (American) portion of black subjectivity, what might that be? The folk culture? Who then defines or constitutes the folk, and how does one allow the folk subject to speak? How does one represent and/or recreate his or her culture without being contaminated by minstrelsy, "coon songs," and plantation literature, by popular and so-called "high" culture appropriation or misappropriation? How does one deal with the doubleness of popular culture as seen in minstrelsy, the cakewalk, the "coon song," ragtime, and the ambivalence of African American minstrel-influenced vaudeville?

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The problem of dualism, whether in Du Bois's semi-psychological proposition of two more or less unintegrated consciousnesses existing simultaneously in one body, Dunbar's notion of the masking of one's true nature (with the protoAlthusserian dilemma that Du Bois identifies as only seeing one's self through the eyes of others who see only the mask), or a more strictly legalistic sense of post-Reconstruction Jim Crow segregation, is this problem of being a citizen and yet not a citizen (and, by extension, of being legally human and not quite human at the same time) in an increasingly urbanized and industrialized United States. How does one respond? Through integration or separatism-or through a sort of separate development of a group culture and politics that would enable the group to force itself into the "mainstream" of culture and power in the United States? And if one tries to represent what one might consider the distinctly African (American) portion of black subjectivity, what might that be? The folk culture? Who then defines or constitutes the folk, and how does one allow the folk subject to speak? How does one represent and/or recreate his or her culture without being contaminated by minstrelsy, "coon songs," and plantation literature, by popular and so-called "high" culture appropriation or misappropriation? How does one deal with the doubleness of popular culture as seen in minstrelsy, the cakewalk, the "coon song," ragtime, and the ambivalence of African American minstrel-influenced vaudeville?

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