“This is a Reality”: The Racism Narrated by Black Characters in Brazilian Football

2021 ◽  
pp. 507-525
Author(s):  
Marcel Diego Tonini
Keyword(s):  
Black Characters

Battered bodies: Characterizing Johannesburg’s apartheid past and present in Gavin Hood’s Tsotsi

2020 ◽  
Vol 12 (2-3) ◽  
pp. 213-228
Author(s):  
Addamms Mututa
Keyword(s):  
South Africa ◽  
Historical Narratives ◽  
The Past ◽  
Black Characters ◽  
Black Bodies ◽  
Narrative Spaces ◽  
The City

Narratives of traumatic citizenship not only raise questions about the past, but also they give voice to contemporary stories about this past. In post-apartheid South Africa, these questions, markers of apartheid temporality, are embodied in, among other sites, the representation of battered Black bodies in cinema. This article critiques the characterization of Blacks as narrative spaces to illustrate the temporality of distress and trauma from apartheid to post-apartheid Johannesburg in Gavin Hood’s Tsotsi. It argues that the film posits Black characters as latent archives of intergenerational historical narratives that probe the apartheid past and speculate on the post-apartheid future in the city of Johannesburg. Consequently, the juxtaposition of embodied narrative archives and apartheid temporality, the article posits, is a crucial model in the theorization of battered Black bodies’ contiguous nostalgia.

scholarly journals Translating national history for children: a case study of a classic

2018 ◽  
Vol 71 (1) ◽  
pp. 103-116
Author(s):  
B.J. Epstein
Keyword(s):  
Race Relations ◽  
Adult Readers ◽  
National History ◽  
Language And Culture ◽  
Adventures Of Huckleberry Finn ◽  
Black Characters ◽  
History Of ◽  
Child Readers ◽  
Huckleberry Finn

Mark Twain’s classic novel The Adventures of Huckleberry Finn is arguably about the history of theUnited States in terms of slavery and race relations. How, then, can this be translated to another language and culture, especially one with a very different background in regard to minorities? And in particular, how can this be translated for children, who have less knowledge about history and slavery than adult readers? In this essay, I analyse how Twain’s novel has been translated to Swedish. I study 15 translations. Surprisingly, I find that instead of retaining Twain’s even-handed portrayal of the two races and his acceptance of a wide variety of types of Americans, Swedish translators tend to emphasise the foreignness, otherness, and lack of education of the black characters. In other words, although the American setting is kept, the translators nevertheless give Swedish readers a very different understanding of theUnited Statesand slavery than that which Twain strove to give his American readers. This may reflect the differences in immigration and cultural makeup inSwedenversus inAmerica, but it radically changes the book as well as child readers’ understanding of what makes a nation.

Darktown Follies (Lafayette Theatre, Harlem, 1913)

2018 ◽  
Author(s):  
Melissa Templeton
Keyword(s):  
New York ◽  
Large Scale ◽  
Large Group ◽  
Lindy Hop ◽  
Black Characters ◽  
New Material ◽  
Black Modernism ◽  
Minstrel Shows

One of the earliest large-scale musical revues to be created and performed by an all-Black cast, Darktown Follies premiered in 1913 at the Lafayette Theatre in Harlem. Darktown Follies exhibited qualities common to minstrel shows of the period with its episodic musical numbers and large group finale. The plot, however, focussed on a romantic storyline between two Black characters, which was rarely seen in minstrel performances. Darktown Follies introduced dances, like Ballin’ the Jack (which would eventually become a popular dance on Broadway) and the Texas Tommy (a predecessor of the lindy hop) to the New York stage. Darktown Follies helped launch a trend of White artists traveling to Harlem in search of new material for their own productions. The show foreshadowed the development Black musicals like Shuffle Along (1921) and was an important precursor to the artistic renaissance that would define Black modernism in Harlem of the 1920s and 1930s.

Message Framing and Color Combination in the Perception of Medical Information

2011 ◽  
Vol 108 (2) ◽  
pp. 667-672 ◽  
Author(s):  
Yu-Hung Chien
Keyword(s):  
University Students ◽  
Medical Information ◽  
Message Framing ◽  
White Background ◽  
Color Combination ◽  
Item Questionnaire ◽  
Black Characters ◽  
Flu Vaccine ◽  
Vaccine Information ◽  
To Receive

A 2 × 2 between-subjects design was used to examine the effects of message framing (gain vs loss) and color combination (red background with white characters vs white background with black characters) on 120 university students' perception of materials promoting the H1N1 flu vaccine and their willingness to receive the vaccine after they had read the materials. Each participant completed a 6-item questionnaire, and the results of an analysis of variance showed that participants rated vaccine information presented through loss-framed messages as having greater interest and leading to greater understanding. Loss-framed messages presented on a white background with black characters significantly increased the willingness of the participants to receive the vaccine.

Remediating Kalimán: Digital Evolutions of Eugenic Agents

2019 ◽  
Vol 5 (1-2) ◽  
pp. 57-78
Author(s):  
Itzayana Gutiérrez
Keyword(s):  
Latin America ◽  
Popular Culture ◽  
Video Games ◽  
Latin American ◽  
Cultural Patrimony ◽  
American Popular Culture ◽  
Black Characters ◽  
Main Protagonist

Kalimán is a Mexican superhero that has circulated Orientalist eugenic values for over fifty years across Latin America. Although Indian, and wearing traditional Indian subcontinental clothing, distinguishable only by a jewel-encased “K” on his turban, Kalimán is a muscular, blue-eyed, and white character. He was created in 1963 as the main protagonist of a radio series that spawned a comic magazine in 1965, two films in 1972 and 1976, and animations and video games in the early 2010s, in a massive process of remediation that has guaranteed a solid mark in the cultural patrimony of the Americas. Since Kalimán incarnates impulses of punishment and desire over racially contaminated brown and black characters, his undisturbed, easy-to-access, and enduring presence provides evidence of deeply ingrained anti-Asian violence in Latin American popular culture, as well as the urge to develop a critical look at graphic violence traditions which continue to be treasured.

scholarly journals “A Man's Story is His Gris-Gris”: Cultural Slavery, Literary Emancipation and Ishmael Reed's Flight to Canada

1993 ◽  
Vol 27 (1) ◽  
pp. 57-71 ◽  
Author(s):  
Richard Walsh
Keyword(s):  
Black People ◽  
Black Nationalism ◽  
Black Writers ◽  
Black Aesthetic ◽  
Melting Pot ◽  
Black Experience ◽  
Little Magazines ◽  
Black Characters ◽  
The Common ◽  
New Criteria

With the emergence of black nationalism in the late sixties, the delineation of a new black aesthetic became an urgent issue: it was first and most persistently raised by Hoyt Fuller in Negro Digest, and soon became the staple of radical black little magazines across America. In 1971, the appearance of a collection of essays entitled The Black Aesthetic and edited by Addison Gayle brought some coherence to the debate, and sanctified its assumptions. In his own contributions to that book, Gayle recorded the passing of the myth of the American melting pot and the consequent need to repudiate assimilationism. He argued that black nationalism implied the development of a black aesthetic in direct opposition to prevailing aesthetic criteria, in which white cultural concerns were privileged under a guise of “universalism”: this bogus universalism actually depended upon the marginalization of black perspectives and black writers by a white literary establishment. Such observations established the need for a new black aesthetic, and prescriptions for its form proliferated. These blueprints were handed down at a series of conferences at which black writers past and present stood trial against the new criteria. The emergent consensus was for writing that directly recreated the black experience out of which it arose; that found its style in the forms of “black folk expression”; that was socially progressive in effect – according to a very literal concept of functional literature; that addressed itself to the common readership of black people; and that assiduously cultivated positive black characters.

Black Characters in the Brazilian Novel

Hispania ◽  
1989 ◽  
Vol 72 (3) ◽  
pp. 561
Author(s):  
Melvin S. Arrington ◽  
Giorgio Marotti ◽  
Maria O. Marotti ◽  
Harry Lawton
Keyword(s):  
Black Characters

scholarly journals Representation of Black Men and Women Characters in Children's Literature: Breaking with the Hegemonic Culture

2018 ◽  
Vol 6 (10) ◽  
pp. 265-272
Author(s):  
Mônica Abud Perez de Cerqueira Luz ◽  
Roseli Machado Lopes do Nascimento ◽  
Rosana Maria Pires Barbato Schwartz ◽  
Márcia Mello Costa De Liberal ◽  
João Clemente De Souza Neto
Keyword(s):  
Children's Literature ◽  
Women Characters ◽  
Children’S Literature ◽  
Point Of View ◽  
Doctoral Research ◽  
The Social ◽  
Black Characters ◽  
Official Curriculum ◽  
Initial Hypothesis ◽  
Brazilian Culture

This article is the result of a doctoral research and from the reflections and researches developed by the Social Pedagogy Group. The main objective is to analyze the discourses carried in children's literature from a post-structuralist perspective and some notes by Foucault on the articulation between discourse, power, and knowledge. For the analysis and understanding of the speeches and the textual and iconographic forms conveyed on the black and black characters, we use children's works produced after the promulgation of Law 10.639/2003, which established the inclusion in the official curriculum of the teaching network of the subject matter "History and Afro-Brazilian Culture". Our initial hypothesis was that discourses on black and black characters, as well as their culture, ancestry, and especially religiosity, kept the operationalization of racism. From the theoretical-methodological point of view, the research is qualitative of an ethnographic nature.

scholarly journals A Du Boisian Reading of The Bluest Eye by Toni Morrison

2015 ◽  
Vol 60 ◽  
pp. 121-127
Author(s):  
Sediqeh Hosseiny ◽  
Ensieh Shabanirad
Keyword(s):  
Toni Morrison ◽  
Black People ◽  
The Other ◽  
Double Consciousness ◽  
The Novel ◽  
White People ◽  
African American Culture ◽  
Bluest Eye ◽  
Black Characters ◽  
Different Types

Due to the color of their skins, Blacks were always subject to different types of disrespect and insecurity in their society. Among different groups of people, writers and critics knew it as their responsibility to act as Black people’s voice and talk on behalf of them, as these people were labeled as ‘The Other’ by the Whites. Du Bios created a kind of new trend of dealing with African-American culture by innovating the concept known as “double consciousness”, and arguing that these black people were trapped between dual personalities. As an American writer, Toni Morrison carried this specific burden upon her shoulders to reveal all those oppressions Blacks had to bear in their life, like what she depicted in the novel The Bluest Eyewith portrayal of the main black character Pecolla who is being blamed for the color of her skin. This article intends to elaborate some inherent postcolonial traces in Toni Morrison’s outstanding novel The Bluest Eye and examine how European power and white people were dominating the whole system of the society and what kind of regretful complications Blacks had to endure, and at the same time working on how Du Bois’s concept of double consciousness can be analyzed in black characters.

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