Abstract
This essay tells the story of the performer Josephine Baker and the architect Adolf Loos as a way to track an unexpectedly intimate dialogue between the making of the so-called "denuded modern surface" and the spectacle of black skin at the turn of the twentieth century. This connection in turn compels a reconsideration of the way we read (as) modern subjects.
Original language | English (US) |
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Pages (from-to) | 98-119 |
Number of pages | 22 |
Journal | Representations |
Volume | 108 |
DOIs | |
State | Published - 2009 |
All Science Journal Classification (ASJC) codes
- Gender Studies
- Cultural Studies
- General Arts and Humanities
- Sociology and Political Science