For more than a century, the psychosocial concept of “double consciousness” (DC) has been inextricably linked to issues of “race,” and racial objectification. Using stand-up comedy as a close proxy for presentations of self, this article presents a fundamentally different understanding, and one that Du Bois quietly pivoted towards near the end of his life: DC is a cultural issue, one best described in terms of meaning-making in conflict and recognizable in many forms — each a “major” way a human being organizes a life. Beyond the color line, “lines” revealed through the comics’ acts include gender, age, class, aesthetics, and ethnonationality, in addition to more micro latent categories. Previously distinct forms of identity crises are united, inviting more constructive engagements with contemporary suffering. In terms of process, I notice a tripartite sequence in the creation of the DC perspective: from othering to objectification to full DC. The possibility of “merging” conflicting consciousnesses is discussed.

一个多世纪以来，“双重意识”（DC）的心理社会概念一直与“种族”和种族客体化问题有着千丝万缕的联系。本文使用单口喜剧作为自我呈现的密切代表，提出了一种完全不同的理解，也是杜波依斯在生命即将结束时悄然转向的一种理解：DC 是一个文化问题，最好用意义来描述。 -在冲突中创造并以多种形式被认可——每一种形式都是人类组织生活的“主要”方式。除了肤色界限之外，漫画行为所揭示的“界限”还包括性别、年龄、阶层、审美、民族等，以及更微观的潜在类别。以前不同形式的身份危机结合在一起，引发对当代苦难进行更具建设性的参与。从流程上来说，我注意到 DC 视角创建过程中的三重顺序：从他者化到客观化，再到完整的 DC。讨论了“合并”冲突意识的可能性。