Find in a library Love and theft blackface minstrelsy and the. goxuv 0 Comments. Love and theft blackface minstrelsy and the American. ERIC LOTT Love and Theft: The Racial Unconscious of Blackface Minstrelsy I THE BOUNDARIES SEPARATING black and white American cultures in the nineteenth century were marked most vividly along the lines of property and sexuality. Traffic in slave commodities was as defining a racial practice as the preservation of white racial purity. Underwritten by envy as well as repulsion, sympathetic identification as well as fear--a dialectic of "love and theft"--the minstrel show continually transgressed the color line even as it enabled.
Eric Lott is Professor of English at the University of Virginia. He is the author of The Disappearing Liberal Intellectual. Love Theft. Blackface Minstrelsy and the American Working Class. 20th Anniversary Edition. Eric Lott and Foreword by Greil Marcus. Race and American Culture. Reviews and Awards. Eric Lott's Love and Theft: Blackface Minstrelsy and the American Working Class is a panorama, a sweeping and prodigiously researched study of how "the filthy scum of white society," as Frederick Douglass branded blackface minstrels, played so inspirational a role in the formation of American popular culture. Love and Theft: Blackface Minstrelsy and the American Working Class (), Black Mirror: The Cultural Contradictions of American Racism () Eric Lott (born ) is an American cultural historian and Distinguished Professor of English at The Graduate Center, CUNY in New York City. [1].
His discussion of the working-class ideologies that minstrelsy gave voice to focuses on the issues of race, class, and gender. One of Lott's particular concerns, cutting across all three of these issues, is to show how blackface minstrelsy was obsessed with matters of the body, with sexuality, even going so far as to suggest that blackface "mediated, and regulated, the formation of white working-class masculinity" (p. 86). ERIC LOTT Love and Theft: The Racial Unconscious of Blackface Minstrelsy I THE BOUNDARIES SEPARATING black and white American cultures in the nineteenth century were marked most vividly along the lines of property and sexuality. Traffic in slave commodities was as defining a racial practice as the preservation of white racial purity. Underwritten by envy as well as repulsion, sympathetic identification as well as fear-a dialectic of "love and theft"-the minstrel show continually transgressed the color line even as it enabled the formation of a self-consciously white working class. Lott exposes minstrelsy as a signifier for multiple breaches: the rift between high and low cultures, the commodification of the dispossessed by the empowered, the attraction mixed with guilt of whites caught in the act of cultural thievery.
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