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• Singulière Italie
• Pour une étude la pensée de la race en Italie. De l'âge romantique à la période fasciste
• Corinne ou l'Italie de Germaine de Staël. Les impasses de la rencontre culturelle et amoureuse entre les "nations" dans l'Europe du XIXe siècle
• Gaspare Gorresio : de la recherche de l'origine à la (re)découverte de l'identité aryenne
• "Les sublimes idéaux de notre race" : Carducci et le mythe aryen
• Racisme et idéologie du progrès. Cesare Lombroso, disciple infidèle-de Paolo Marzolo ?
• Le début de la pensée raciste de Lombroso (1860-1871)
• "Costrutto diversamente dagli altri" : criminalité, atavisme et race chez Lombroso
• Le racisme antiméridional entre la fin du XIXe et le début du XXe siècle
• Colères, maladresses et races maudites : La naissance de l'antiracisme dans l'Italie postunitaire
• Une voie régionale à la race ? Romagne et Romagnols entre la fin du XIXe siècle et le fascisme
• Mussolini et les mots de la race
• Entre "infortune" et "fortune" de l'antisémitisme français dans l'antisémitisme fasciste. L'image de la France dans La difesa della razza
• La construction de l'identité et de l'altérité coloniale et raciale dans l'école italienne
• Un échange inédit entre Gobineau et Gorresio. "Orientalistes mutanda mutandis"
• Giuseppe Musolino. Un "héros du mal" étudié par Cesare Lombroso
• Le dernier brigand. Giuseppe Musolino.

"L'importance de la pensée italienne de la race a été longtemps sous-estimée. Cependant, en Italie autant qu'en France ou en Allemagne, nombre d'oeuvres littéraires ou de discours scientifiques mobilisent le concept de race dans une perspective aussi bien théorique que politique. Des premières décennies du XIXe siècle à la période fasciste, trois moments - philologie romantique, anthropologie positiviste et idéologie fasciste - constituent les jalons d'une archéologie de la pensée italienne de la "race" dont l'étude révèle un usage spécifique qui engage non seulement le rapport que la Péninsule entretient avec l'autre mais aussi le rapport qu'elle entretient avec elle-même."--Page 4 of cover.

How are we to comprehend, diagnose, and counter a system of racist subjugation so ordinary it has become utterly asymptomatic? Challenging the prevailing literary critical inclination toward what makes texts exceptional or distinctive, Genre and White Supremacy in the Postemancipation United States underscores the urgent importance of genre for tracking conventionality as it enters into, constitutes, and reproduces ordinary life. 0In the wake of emancipation's failed promise, two developments unfolded: white supremacy amassed new mechanisms and procedures for reproducing racial hierarchy; and black freedom developed new practices for collective expression and experimentation. This new racial ordinary came into being through new literary and cultural genres-including campus novels, the Ladies' Home Journal, Civil War elegies, and gospel sermons. Through the postemancipation interplay between aesthetic0conventions and social norms, genre became a major influence in how Americans understood their social and political affiliations, their citizenship, and their race.0Travis M. Foster traces this thick history through four decades following the Civil War, equipping us to understand ordinary practices of resistance more fully and to resist ordinary procedures of subjugation more effectively. In the process, he provides a model for how the study of popular genre can reinvigorate our methods for historicizing the everyday

• On the blackness of post-blackness: Colson Whitehead and racial individualism
• 'Katrina is the mother we will remember until the next mother': apocalyptic storms and the slow violence of structural racism
• 'New and better stories': crafting a literature to fit a Barack Obama world
• The audacity of Hope Jones: Alice Randall's Rebel Yell and the idealization of Barack Obama
• A Non-American black guide to American blackness: rearticulating race through a diasporic lens
• Coda. African American literature Post-Obama.

Post-Blackness. Post-Soul. Post-Black Art. New Blackness. How has the meaning of blackness changed in the twenty-first century? Cameron Leader-Picone suggests that this proliferation of terms, along with the renewed focus on questioning the relationship between individual black artists and the larger black community, indicates the arrival of novel forms of black identity and black art. Leader-Picone defines these terms as significant facets of a larger post era, linking them with the social and political context of Barack Obama's presidency. Analyzing claims of progress associated with Obama's election and post-era thinking, He examines the contours of black aesthetics in the new century. To do so, he sifts through post-era African American fiction, considering both celebrations and rejections of an early twenty-first-century rhetoric of progress. As well, he maps the subsequent implications of these concepts for rearticulating racial identities. Through the works of Colson Whitehead, Alice Randall, Chimamanda Ngozi Adichie, Paul Beatty, Kiese Laymon, and Jesmyn Ward, Leader-Picone tracks how recent fiction manifests the tension between the embrace of post-civil rights era gains and the recognition of persistent structural racism. Ultimately far less triumphal than the prefix post would imply, these authors address the Black Arts Movement and revise double consciousness and other key themes from the African American literary tradition. They interrogate their relevance in an era encompassing not only the election of the nation's first black president, but also the government's failed response to Hurricane Katrina, expanding class divisions within the black community, mass incarceration, and ongoing police violence.
(source: Nielsen Book Data)

• Introduction: producing discourses of certainty with official antiracisms
• Killing sympathies: racial liberalism and race novels
• Counterinsurgent canon wars and surviving liberal multiculturalism
• Making global citizens: neoliberal multiculturalism and literary value
• Difference as strategy in international indigenous peoples' movements
• Epilogue: rematerializing antiracism.

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(source: Nielsen Book Data)

• Acknowledgements
• Introduction
• 1 Passing as the Old Black
• 2 Passing as the New Black
• 3 Oreotizing the New Black
• 4 The New Black Melancholy
• Conclusion: Apostrophe in God Help the Child
• Bibliography
• Index.
• (source: Nielsen Book Data)

Toni Morrison and the New Black examines how Morrison explores the concept of the new black in the context of post-soul, post-black and post-racial discourses. Morrison evolves the new black as symbolic of unprecedented black success in all walks of life, from politics to the media, business and beyond. Jaleel Akhtar's work shows how the new black reaffirms the possibility of upward mobility and success, and stands as testimony to the American Dream that anyone can achieve material success provided they work hard enough for it.
(source: Nielsen Book Data)

• Acknowledgments Introduction: Playing Innocent: Childhood, Race, Performance
• 1 Tender Angels, Insensate Pickaninnies: The Divergent Paths of Racial Innocence 2 Scriptive Things
• 3 Everyone Is Impressed: Slavery as a Tender Embrace from Uncle Tom's to Uncle Remus's Cabin 4 The Black-and-Whiteness of Raggedy Ann
• 5 The Scripts of Black Dolls Notes Index About the Author.
• (source: Nielsen Book Data)

2013 Book Award Winner from the International Research Society in Children's Literature 2012 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 Association 2012 Honorable Mention, Distinguished Book Award presented by the Society for the Study of American Women Writers Part 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.
(source: Nielsen Book Data)