John Dos Passos, Manhattan Transfer (You already have a hard copy of this book. Read it.)
Encyclopedia of Literary Modernism: “Dos Passos, John (Roderigo) (1896-1970)”: JDPEncyLitMod
Caserio, “Modernism” (see course info page)
Zabel, “Stuart Davis’s Appropriation of Advertising: The Tobacco Series, 1921-1924”: SDavisTobacco
Look at this page: https://analepsis.org/stuart-davis/
Come back stronger.
In popular culture, the Kenya Land and Freedom Army (Mau Mau) was transformed into a caricature. This documentary, which is fairly liberal in its political orientation, was considered too shocking to screen and was subsequently marketed as an exploitation film. Numerous racist tropes are in play in these lurid posters.
A political map of Kenya from UT Austin’s map website:
By Vincent Smith, an American artist: Elmina Castle (1972). Elmina Castle was a trading post established by the Portuguese in 1482 which became a major port in the slave trade.
I found the image above while I was researching Cape Coast Castle, another Portuguese fort, which was taken over by the British and used as a collection and embarkation point for enslaved Africans. By the time you return to class on Wednesday you should know how that setting figures in Yaa Gyasi’s historical novel/ family saga Homegoing.
I was initially hesitant to share the image below with you but given its significance and the fact that it is the creation of a notable American artist, Andrew Wyeth (son of famed artist/illustrator N.C. Wyeth and father of Jamie) I reconsidered.
The title of this painting is Barracoon (1976). A barracoon is essentially the space described by Gyasi on the lower floor of Cape Coast Castle.
What troubles me about this painting is its idealizing eroticism. Given what conditions in the barracoons were actually like, this depiction of a feminine form seems like a lie, an effort to tantalize the viewer rather than confront them. This objection has to do with history and power instead of form. How would a painting of the barracoons based on Giyasi’s imagery look?
A still photo from Grand Hotel (1932). Joan Crawford plays Flämmchen and (a considerably older) John Barrymore as Gaigern. We’ll watch clips on Wednesday.