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  3. Marginal People in Deviant Places: Ethnography, Difference, and the Challenge to Scientific Racism

Marginal People in Deviant Places: Ethnography, Difference, and the Challenge to Scientific Racism

Janice M. Irvine
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Marginal People in Deviant Places revisits early- to mid-twentieth-century ethnographic studies, arguing that their focus on marginal subcultures—ranging from American hobos, to men who have sex with other men in St. Louis bathrooms, to hippies, to taxi dancers in Chicago, to elderly Jews in Venice, California—helped produce new ways of thinking about social difference more broadly in the United States. Irvine demonstrates how the social scientists who told the stories of these marginalized groups represented an early challenge to then-dominant narratives of scientific racism, prefiguring the academic fields of gender, ethnic, sexuality, and queer studies in key ways. In recounting the social histories of certain American outsiders, Irvine identifies an American paradox by which social differences are both despised and desired, and she describes the rise of an outsider capitalism that integrates difference into American society by marketing it.
  • Cover
  • Title Page
  • Copyright Page
  • Dedication
  • Contents
  • Illustrations
  • Acknowledgments
  • Preface
  • One. Introduction
  • Two. Making Up Hobos
  • Three. The Taxi-Dance Hall
  • Four. Zora’s Florida
  • Five. Asylum Stories
  • Six. Tearoom Trade
  • Seven. District for Deviants
  • Eight. Conclusion
  • Notes
  • Index
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Published: 2022
Publisher: University of Michigan Press
License: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license
ISBN(s)
  • 978-0-472-90265-1 (open access)
  • 978-0-472-05538-8 (paper)
Subject
  • American Studies
  • Gender Studies
  • Sociology

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Fig. 1. Three members of the jazz group the Bobby Laine Trio, circa 1950 (Bobby Laine, tenor; Dominic Jaconetti, drums; Howie Becker, piano), performing at the 504 Club, which was located at 504 W. 63rd St. in Chicago.

Howard Becker

From Preface

Fig. 1. Howard Becker, piano, performing at the 504 Club in Chicago, circa 1950. Courtesy of Howard Becker.

Fig 2. White cover page of Mad magazine, with large, red NO! superimposed, with Alfred E. Neuman’s head as the dot of the exclamation point. “Our price 40 cents, cheap (considering)” is in the top right corner, and “Remember, Mad said it first” in small print at the bottom of the cover.

Mad Magazine

From Preface

Fig. 2. Mad magazine cover, December, 1971.

Fig. 3. Zora Neale Hurston wearing a sweater and hat in front of a boat being rowed through a swamp by a black man wearing a cap and sailor-like clothing. Both are smiling.

Hurston researching in boat

From Preface

Fig. 3. Zora Neale Hurston collecting folklore, late 1930s. Courtesy of Jane Belo Estate, Zora Neale Hurston Papers, Special and Area Studies Collections, George A. Smathers Libraries, University of Florida, Gainesville, Florida.

Fig. 4. Marchers, mostly men and a few women, holding signs reading “Gays Love God Loves Gays” and “Judge Not Lest Ye Be Judged.” One waving and one holding his fist in the air.

Gay pride march, Mattachine

From Preface

Fig. 4. Early gay pride march, Mattachine Society of New York. Courtesy of the New York Public Library.

Fig. 5. Black-and-white photograph of C. Wright Mills, leaning forward slightly, with an unnamed young man sitting on his left.

C. Wright Mills

From Preface

Fig. 5. Columbia University sociologist C. Wright Mills.

Fig. 6. The façade of the completed Center Building of St. Elizabeths Hospital, with horse and carriage in front, along with nearby trees and ivy-­covered walls.

Center Building, St. Elizabeths Hospital

From Preface

Fig. 6. Center Building, St. Elizabeths Hospital in Washington, DC, circa 1900, a key place featured in Chapter 5. Dr. Charles Nichols, the hospital’s first superintendent, and architect Thomas Walter designed the building. Courtesy of the National Archives and Records Administration.

Fig. 7. Brightly colored lobby card of dancers in the background along with a four-man band, with a man and woman dancing in the foreground. He is bending her backward. She wears a bright yellow dress and white heels, and he wears a black suit. “The Taxi Dancer” is printed in large red letters at the top of the card.

"The Taxi Dancer" lobby card

From Preface

Fig. 7. Lobby card for the 1927 film, The Taxi-Dancer.

Fig. 8. Yellow-and-white book cover, with the title Must You Conform? in black letters.

Must You Conform? cover

From Chapter 1

Fig. 8. Book cover, Must You Conform? by Robert Lindner, 1956.

Fig. 9. Hand-written Social Pathology course notes with four definitional points under the central question, what is the normal? Dated Oct. 4, 1927.

Ernest Burgess course notes

From Chapter 1

Fig. 9. Ernest Burgess course notes for Social Pathology, October 4, 1927. Courtesy of: The Hanna Holborn Gray Special Collections Research Center, the University of Chicago Library.

Fig. 10. Six drawings from Cesare Lombroso’s nineteenth-century work that purportedly depict physical characteristics of different criminal types. In profile and full-faced representations, the faces allegedly support Lombroso’s arguments about how physical features such as cranial size relate to criminality.

Cesare Lombroso's six figures illustrating types of criminals

From Chapter 1

Fig. 10. Cesare Lombroso, six figures illustrating types of criminals, 1888. Courtesy of Wellcome Library, London.

Fig. 11. W. E. B. Du Bois seated in front of a bookshelf, dressed in dark suit and tie, looking down at a copy of the quarterly journal The Crisis, published by the National Association for the Advancement of Colored People, and edited by Du Bois for its first twenty-four years.

W. E. B. Du Bois

From Chapter 1

Fig. 11. W. E. B. Du Bois in his office, circa 1948. Courtesy of W. E. B. Du Bois Papers, Special Collections and University Archives, University of Massachusetts Amherst Libraries.

Fig. 12. Sepia-toned photograph of Georg Simmel, circa 1901.

Georg Simmel

From Chapter 1

Fig. 12. Georg Simmel, circa 1901.

Fig. 13. Photograph of Industrial Workers of the World demonstration in Union Square, New York City, dated 4/11/14. It is a large crowd, mostly of men, all wearing hats and coats; some hold IWW signs.

Industrial Workers of the World

From Chapter 1

Fig. 13. Industrial Workers of the World (I.W.W.) demonstration, New York City. Courtesy of the George Grantham Bain Collection, Library of Congress.

Fig. 14. FBI document reporting on undercover surveillance of a panel on race riots presented at the annual meeting of the American Sociological Association.

FBI surveillance document

From Chapter 1

Fig. 14. Federal Bureau of Investigation, American Sociological Association, September 14, 1965. Washington, DC : FBI Freedom of Information—Privacy Acts Section. Courtesy of Mike Keen.

Fig. 15. Street signs marking the intersection of Haight and Ashbury Streets in San Francisco, on a light pole in front of a white house.

Haight and Ashbury intersection

From Chapter 1

Fig. 15. Street signs marking the intersection of Haight and Ashbury Streets in San Francisco.

Fig. 16. Hand-­drawn map of concentric zones of the city: Zone I (Loop), Zone II (Transition), Zone III (Zone of Workingmen’s Homes), Zone IV (Residential), and Zone V (Commuters). There are, among others, “Vice,” “Bright Light,” “Slum,” and “Ghetto” areas.

Chart of urban areas

From Chapter 1

Fig. 16. “Urban Areas,” map illustrating the growth of cities, from The City: Suggestions for Investigation of Human Behavior in the Urban Environment, edited by Robert E. Park and Ernest W. Burgess, 1925. Courtesy of the Hanna Holborn Gray Special Collections Research Center, the University of Chicago Library.

Fig. 17. Several cots line a sun-drenched porch, with White men under blankets, some peering at the camera. White attendants and a nurse surround the men in cots.

Sleeping porch at St. Elizabeths

From Chapter 1

Fig. 17. The sleeping porch in the Allison Building at St. Elizabeths Hospital, Washington, DC, seen in this 1910 photograph, was for White soldiers and sailors. Courtesy of National Archives and Records Administration (418-G-15).

Fig. 18. The outside façade of the Israel Levin Senior Center as it is being demolished. Colorful murals adorn the outside, with text in Hebrew and English.

Israel Levin Senior Center

From Chapter 1

Fig. 18. Israel Levin Senior Center, December, 2018. Photograph by the author.

Fig. 19. A hand-­drawn map depicting the research sites of all of the texts examined in this book, including the research homes of the author.

Book map

From Chapter 1

Fig. 19. Marginal People in Deviant Places. Map by Janice M. Irvine ©. Artist, Molly Brown, South Portland, Maine.

Fig. 20. An old red-and-white movie marquee with the word “Chief” on top features the sign, “National Hobo Museum.” A sidewalk sign advertises the gift shop, and an American flag can be seen down the street.

The National Hobo Museum

From Chapter 2

Fig. 20. The National Hobo Museum, at the former Chief Movie Theatre on Main Street, Britt, Iowa. Photograph by the author.

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