Terrence Tucker (57 results)

Condition: New.

Paperback or Softback. Condition: New. Sardonic Satisfaction: Uncle (Bomby) Bob's Letters Home. Book.

Condition: As New. Unread book in perfect condition.

Paperback. Condition: As New. ***Please Read*** No marks on text - My shelf location - ea-a-23*.

Hardcover. Condition: Near Fine. No Dust Jacket. First Edition. A Near Fine copy in pictorial hard covers. Publisher's stamp at the top edge of the text block, else as new. No dust jacket, apparently as issued. Book.

Condition: Used: Like New. SIGNED BY AUTHOR. Near fine.

Condition: New.

Paperback. Condition: As New. No Jacket. Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condition: Very Good. 302 pp; Spine as 2 minor dings, else a new book.

hardcover. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

hardcover. Condition: Good. No dust jacket. Good hardcover with some shelfwear; may have previous owner's name inside. Standard-sized.

Hardcover. Condition: Fine. 9.3 X 6.3 X 1.0 inches; 302 pp; Spine slightly bumped at the base, else a new book.

Condition: New. In English.

PF. Condition: New.

Paperback or Softback. Condition: New. Furiously Funny: Comic Rage from Ralph Ellison to Chris Rock. Book.

Condition: New.

Condition: New.

Paperback. 179p. A softcover book in fine condition. Bottom left corner of back cover has a small crease; otherwise pristine. Collection of a WWII's bombardier's letters revealing his moral dilemma in bombing villages and difficulties in adjusting to postwar life. Includes many black and white photographs.…

Paperback. Condition: New. A combustible mix of fury and radicalism, pathos and pain, wit and love--Terrence Tucker calls it "comic rage," and he shows how it has been used by African American artists to aggressively critique America's racial divide.In Furiously Funny, Tucker finds that comic rage developed from black oral tradition and first shows up in literature by George Schuyler and Ralph Ellison shortly after World War II. He examines its role in novels and plays, following the growth of the expression into comics and stand-up comedy and film, where Richard Pryor, Spike Lee, Whoopi Goldberg, and Chris Rock have all used the technique.Their work, Tucker argues, shares a comic vision that centralizes the African American experience and realigns racial discourse through an unequivocal frustration at white perceptions of blackness. They perpetuate images of black culture that run the risk of confirming stereotypes as a means to ridicule whites for allowing those destructive depictions to reinforce racist hierarchies. At the center of comic rage, then, is a full-throated embrace of African American folk life and cultural traditions that have emerged in defiance of white hegemony's attempts to devalue, exploit, or distort those traditions. The simultaneous expression of comedy and militancy enables artists to reject the mainstream perspective by confronting white audiences with America's legacy of racial oppression.Tucker shows how this important art form continues to expand in new ways in the twenty-first century and how it acts as a form of resistance where audiences can engage in subjects that are otherwise taboo.…

Paperback. Condition: New. A combustible mix of fury and radicalism, pathos and pain, wit and love--Terrence Tucker calls it "comic rage," and he shows how it has been used by African American artists to aggressively critique America's racial divide.In Furiously Funny, Tucker finds that comic rage developed from black oral tradition and first shows up in literature by George Schuyler and Ralph Ellison shortly after World War II. He examines its role in novels and plays, following the growth of the expression into comics and stand-up comedy and film, where Richard Pryor, Spike Lee, Whoopi Goldberg, and Chris Rock have all used the technique.Their work, Tucker argues, shares a comic vision that centralizes the African American experience and realigns racial discourse through an unequivocal frustration at white perceptions of blackness. They perpetuate images of black culture that run the risk of confirming stereotypes as a means to ridicule whites for allowing those destructive depictions to reinforce racist hierarchies. At the center of comic rage, then, is a full-throated embrace of African American folk life and cultural traditions that have emerged in defiance of white hegemony's attempts to devalue, exploit, or distort those traditions. The simultaneous expression of comedy and militancy enables artists to reject the mainstream perspective by confronting white audiences with America's legacy of racial oppression.Tucker shows how this important art form continues to expand in new ways in the twenty-first century and how it acts as a form of resistance where audiences can engage in subjects that are otherwise taboo.…

Condition: New. In English.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: New. In English.

Paperback. Condition: Brand New. 291 pages. 8.75x6.00x0.75 inches. In Stock.

Condition: New. pp. 302.

Condition: As New. Unread book in perfect condition.

PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Gebunden. Condition: New. KlappentextrnrnThis book consists of a series of letters written by a young man during WWII. He went from banker to bombardier. He underwent starvation, depravation and his moral conflict with killing the enemy to a fear of being able to do his .

Taschenbuch. Condition: Neu. Neuware - A combustible mix of fury and radicalism, pathos and pain, wit and love--Terrence Tucker calls it 'comic rage,' and he shows how it has been used by African American artists to aggressively critique America's racial divide.In Furiously Funny, Tucker finds that comic rage developed from black oral tradition and first shows up in literature by George Schuyler and Ralph Ellison shortly after World War II. He examines its role in novels and plays, following the growth of the expression into comics and stand-up comedy and film, where Richard Pryor, Spike Lee, Whoopi Goldberg, and Chris Rock have all used the technique.>Tucker shows how this important art form continues to expand in new ways in the twenty-first century and how it acts as a form of resistance where audiences can engage in subjects that are otherwise taboo.…

Paperback. Condition: New. A combustible mix of fury and radicalism, pathos and pain, wit and love--Terrence Tucker calls it "comic rage," and he shows how it has been used by African American artists to aggressively critique America's racial divide.In Furiously Funny, Tucker finds that comic rage developed from black oral tradition and first shows up in literature by George Schuyler and Ralph Ellison shortly after World War II. He examines its role in novels and plays, following the growth of the expression into comics and stand-up comedy and film, where Richard Pryor, Spike Lee, Whoopi Goldberg, and Chris Rock have all used the technique.Their work, Tucker argues, shares a comic vision that centralizes the African American experience and realigns racial discourse through an unequivocal frustration at white perceptions of blackness. They perpetuate images of black culture that run the risk of confirming stereotypes as a means to ridicule whites for allowing those destructive depictions to reinforce racist hierarchies. At the center of comic rage, then, is a full-throated embrace of African American folk life and cultural traditions that have emerged in defiance of white hegemony's attempts to devalue, exploit, or distort those traditions. The simultaneous expression of comedy and militancy enables artists to reject the mainstream perspective by confronting white audiences with America's legacy of racial oppression.Tucker shows how this important art form continues to expand in new ways in the twenty-first century and how it acts as a form of resistance where audiences can engage in subjects that are otherwise taboo.…