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    <loc>https://www.rebeccawanzo.com/welcome</loc>
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    <lastmod>2020-08-23</lastmod>
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      <image:title>Welcome to Rebecca Wanzo's webpage</image:title>
      <image:caption>Art by John Jennings.</image:caption>
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  <url>
    <loc>https://www.rebeccawanzo.com/bio</loc>
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    <lastmod>2020-08-23</lastmod>
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      <image:title>Bio</image:title>
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  <url>
    <loc>https://www.rebeccawanzo.com/books</loc>
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    <lastmod>2020-08-23</lastmod>
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      <image:title>Books - What makes a suffering person legible as a legitimate victim in U.S. culture?</image:title>
      <image:caption>In The Suffering Will Not Be Televised, Rebecca Wanzo uses African American women as a case study to explore the conventions of sentimental political storytelling—the cultural practices that make the suffering of some legible while obscuring other kinds of suffering. Through an examination of memoirs, news media, film, and television, Wanzo’s analysis reveals historical and contemporary tendencies to conflate differences between different kinds of suffering, to construct suffering hierarchies, and to treat wounds inflicted by the state as best healed through therapeutic, interpersonal interaction. Wanzo’s focus on situations as varied as disparities in child abduction coverage, pain experienced in medical settings, sexual violence, and treatment of prisoners of war illuminates how widely and deeply these conventions function within U.S. culture. “Wanzo’s book is truly an historical tour de force … With admirable dexterity, Wanzo analyzes multiple discourses that use sentimental storytelling to deny and minimize contemporary black suffering … The book is well written, theoretically informed, and accessible and relevant to new generations of students.” — Feminist Formations</image:caption>
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      <image:title>Books - "A singular achievement. Rebecca Wanzo gives shape to new and necessary ways of understanding the development of comic art in the United States that also resonate with broader conversations about blackness and visual narrative. Her study delves into the ambivalent expressions of citizenship, identity, and power that are central to how cartoonists picture race. Along the way, Wanzo bridges aesthetics and cultural theory through expert readings of editorial comics and newspaper strips, superhero serials, underground comix, historical graphic novels, and more." ~Qiana Whitted, author of EC Comics: Race, Shock, and Social Protest.</image:title>
      <image:caption>Revealing the long aesthetic tradition of African American cartoonists who have made use of racist caricature as a black diasporic art practice, Rebecca Wanzo demonstrates how these artists have resisted histories of visual imperialism and their legacies. Moving beyond binaries of positive and negative representation, many black cartoonists have used caricatures to criticize constructions of ideal citizenship in the United States, as well as the alienation of African Americans from such imaginaries. The Content of Our Caricature urges readers to recognize how the wide circulation of comic and cartoon art contributes to a common language of both national belonging and exclusion in the United States.</image:caption>
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    <loc>https://www.rebeccawanzo.com/events</loc>
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    <lastmod>2020-08-23</lastmod>
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      <image:title>Events</image:title>
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      <image:title>Events</image:title>
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      <image:title>Events</image:title>
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  <url>
    <loc>https://www.rebeccawanzo.com/public-scholarship</loc>
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    <priority>0.75</priority>
    <lastmod>2020-08-27</lastmod>
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      <image:loc>https://static1.squarespace.com/static/5f41583aa37d551574bb6501/t/5f4237480502cb348fad36ea/1598175054894/Screen%2BShot%2B2020-08-23%2Bat%2B4.26.51%2BAM.jpg</image:loc>
      <image:title>Public Scholarship - “Removing 'blackface episodes' is easy. Actually confronting racism in media isn't.” CNN, June 29, 2020</image:title>
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      <image:title>Public Scholarship - “Thinking about Watchmen: a Roundtable.” Film Quarterly, June 2020.</image:title>
      <image:caption>“ I think this is a profoundly “playing in the dark” iteration of the black superhero, not by recasting superheroes through black experience but by saying that a racialized nationalism is important to the foundations of vigilantism, heroism, and alienated citizenship at the core of this myth.”</image:caption>
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      <image:loc>https://static1.squarespace.com/static/5f41583aa37d551574bb6501/t/5f423a1e9cd6131f92b2f999/1598175795903/kavanaugh+with+girls+team.jpg</image:loc>
      <image:title>Public Scholarship - “These Images of Women Around Kavanaugh Evoke a Familiar Alibi.” CNN, September 2018.</image:title>
      <image:caption>“. . . we need to resist the impulse to believe that people cannot live compartmentalized lives, across time and space.”</image:caption>
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      <image:loc>https://static1.squarespace.com/static/5f41583aa37d551574bb6501/t/5f42ac538938b128603c35a5/1598205049316/michelle+obama+portrait.jpg</image:loc>
      <image:title>Public Scholarship - “b.O.s 7.2 / Michelle LaVaughn Robinson Obama”</image:title>
      <image:caption>ASAP/J, 27 August 2018. “Given the well-documented refashioning of Michelle Obama during her husband’s presidential campaign to combat the reading of her as an angry black woman, the face at rest feels like a refusal of prescriptive and regulatory gazes on black womanhood.”</image:caption>
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      <image:title>Public Scholarship - And All Our Past Decades Have Seen Revolutions: The Long Decolonization of the Black Panther.” The Black Scholar. February 19, 2018.</image:title>
      <image:caption>“This slow decolonization of the Black Panther is the effort to decenter the white perspective from the construction of the character. If we recognize that representation matters, and that Black representation has been a tool in white supremacy, tracing the character over decades illustrates an epic struggle to make a “real” Black character out of something that was a white fantasy of blackness.”</image:caption>
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      <image:title>Public Scholarship - 12 Years a Slave and the Problem of (Black) Suffering. Huffington Post.</image:title>
      <image:caption>Racist resistance to representations of black suffering and anti-racist criticisms of representations of black suffering are actually two sides of the same coin. Producers of both discourses internalize a cultural discourse that sees representations of adult victimization as somehow less artful and distasteful. Looking away has become a national pastime — from the poor, the sick, and the civilians killed by war and drones. It is unclear to me what kinds of representations of suffering can always escape condemnation as sentimental, or manipulative, or “suffering porn.”</image:caption>
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      <image:title>Public Scholarship</image:title>
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      <image:title>Public Scholarship</image:title>
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      <image:title>Public Scholarship</image:title>
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  <url>
    <loc>https://www.rebeccawanzo.com/teaching-resources</loc>
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    <lastmod>2020-08-23</lastmod>
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      <image:title>Teaching Resources</image:title>
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      <image:title>Teaching Resources</image:title>
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      <image:title>Teaching Resources</image:title>
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  <url>
    <loc>https://www.rebeccawanzo.com/articles-and-book-chapters</loc>
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    <lastmod>2020-08-23</lastmod>
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      <image:title>Articles and Book Chapters</image:title>
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      <image:title>Articles and Book Chapters</image:title>
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      <image:title>Articles and Book Chapters</image:title>
      <image:caption>Should we think about Baldwin in fan studies? Full text of essay available here.</image:caption>
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      <image:title>Articles and Book Chapters</image:title>
      <image:caption>Full text available here.</image:caption>
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