Seeing Race in Modern America

¿De qué me ves cara?: Narrativas de herencia, genética e identidad inscritas en la apariencia

“…En general, el planteamiento de estos estudios, así como los de antropología genética mencionados antes, invitan al participante a vincular la evidencia visible en el cuerpo con una verdad interior (Guterl, 2013). Invitan a establecer una relación entre la superficie y lo profundo, y a buscar en lo visible los rastros que pueden ayudar a inferir o dar sentido a un resultado genómico.…”

Testing the Boundaries: Reflections on Transnationalism in Australian History

“…Is it, in the words of Matthew Pratt Guterl, "like a transparency laid over a familiar map?" 6 Transnational history, as outlined by Curthoys and Lake, had modest aims: to allow for a study of "the ways in which past lives and events have been shaped by processes and relationships that have transcended the borders of nation states." 7 To date, the innovations have been mostly spatial: histories of migration and travel have illuminated the movement of convicts, missionaries, traders, immigrants, institutions and ideas across national borders.…”

“…What new "temporal plot points" might our transnational scholarship generate? 10 We may also query the social conditions of our own historical productions; to historicise our practice in the present. To what extent is our fascination with a borderless past inhabited by mobile subjects a product of our own privileged cosmopolitanism?…”

How to Get Away with Blackface: Performances of Black Masculinity in Tropic Thunder

“… For example, Dargis pointed out that Chino's lashing of Lazarus enables Tropic Thunder to “have its chocolate cake and eat it too.” More recently, Guterl has remarked that Chino is “a character added to the film by Stiller as a political prophylactic” (156), while Sammond asserts that “part of the reason for a lack of widespread outrage over a white actor playing a black character in 2008 was that [the outrage] is deftly internalized within the film itself, through the character Alpa Chino … who repeatedly rails against Lazarus for his appropriation” (276). …”