Review: Between Totem and Taboo: Black Man, White Woman in Francographic Literature

2002 ◽  
Vol 56 (3) ◽  
pp. 438-439
Author(s):  
C. Margerrison
Keyword(s):  
White Woman ◽  
Black Man

O casamento do preto Marajá com a branca Arlete: relações amorosas e racismo em ”Os discursos do Mestre Tamoda” de Uanhenga Xitu

2019 ◽  
Vol 16 (27) ◽  
pp. 26-41
Author(s):  
WASHINGTON SANTOS NASCIMENTO
Keyword(s):  
White Woman ◽  
The Novel ◽  
Love Relationships ◽  
Interracial Marriages ◽  
History And Literature ◽  
Black Man

 A partir do diálogo entre história e literatura debatemos sobre relações amorosas inter-raciais, racismo e a discriminação em Luanda, capital de Angola, através da análise do relato sobre o ”casamento” do homem ”preto” e do ”mato” angolano, Marajá, e da mulher portuguesa e branca, Arlete, presente no romance ”Os discursos do mestre Tamoda” do escritor angolano Uanhenga Xitu.Palavras-chave: Luanda. Casamentos inter-raciais.Uanhenga Xitu.THE MARRIAGE BETWEEN BLACK MAN MARAJá AND WHITE WOMAN ARLETE:  relationships and racism in "The Speeches of Master Tamoda" by Uanhenga XituAbstract: From the dialogue between history and literature, we discussed interracial love relationships, racism and discrimination in Luanda, the capital of Angola, through the analysis of the report on the "marriage" of the black man and from the Angolan "jungle", Marajá, and the Portuguese and white woman Arlete, present in the novel "The speeches of master Tamoda", written by Angolan writer Uanhenga Xitu.Keywords: Luanda. Interracial marriages. Uanhenga Xitu.  LA BODA DEL NEGRO MARAJá CON LA BLANCA ARLETE:  relaciones amorosas y racismo en "Los discursos del Maestro Tamoda" de Uanhenga XituResumen: A partir del diálogo entre historia y literatura discutimos sobre relaciones amorosas interraciales, racismo y discriminación en Luanda, capital de Angola, a través del análisis del relato sobre la "boda" del hombre "negro" y del "mato" angoleño, Marajá, y de la mujer portuguesa y blanca, Arlete, presente en la novela "Los discursos del maestro Tamoda" del escritor angoleño Uanhenga Xitu.Palabras clave: Luanda. Boda inter-racial. Uanhenga Xitu.

scholarly journals The Construction and Destruction of Clay’s “Ideal Self” in Dutchman

2021 ◽  
Vol 3 (4) ◽  
pp. 70-72
Author(s):  
Wenli Jiang
Keyword(s):  
White Woman ◽  
Stage Theory ◽  
Ideal Self ◽  
Mirror Stage ◽  
Black Man ◽  
American Society

Amiri Baraka’s play Dutchman tells the tragic story of Clay, a black man who is seduced, insulted and killed by a white woman Lula on the subway. In order to fit into mainstream American society, Clay always constructs his “ideal self” and plays the role of a fake white man. Lacan’s mirror stage theory can explain the cause of the construction and destruction of Clay’s ideal-self.

The King v. Robert James, a Slave, for Rape: Inequality, Gender, and British Slave Amelioration, 1823–1834

2005 ◽  
Vol 47 (3) ◽  
pp. 583-610 ◽  
Author(s):  
Melanie J. Newton
Keyword(s):  
White Woman ◽  
Slave Emancipation ◽  
British Caribbean ◽  
Black Man

In December 1832, less than a year before the British Parliament passed the first imperial slave emancipation bill, an all-white jury in the British Caribbean colony of Barbados convicted a black, enslaved man named Robert James of having robbed and sexually violated Margaret Higginbotham, an impoverished white widow and mother. Since Robert James was a black man accused of raping a white woman the jury's decision could hardly have surprised anyone and his rapid dispatch by a hangman must have been universally expected.

scholarly journals Film as a reflection of society: interracial marriage and Stanley Kramer’s Guess Who’s Coming to Dinner in late 1960s America

SURG Journal ◽  
2010 ◽  
Vol 4 (1) ◽  
pp. 23-29
Author(s):  
Katie Elizabeth Anderson
Keyword(s):  
Race Relations ◽  
21St Century ◽  
White Woman ◽  
Interracial Marriage ◽  
Social Attitudes ◽  
Political Context ◽  
Hollywood Films ◽  
The Social ◽  
Black Man

This paper explores the debate of whether Hollywood films act as influential and progressive forces in a society, or do they serve as a larger reflection of that society. I examine Stanley Kramer’s film Guess Who’s Coming to Dinner (1967), about an interracial marriage between a black man and a white woman. Was the film progressive for its time, or was it reflective of the social attitudes in late 1960s America? I argue that although there are aspects of the film that can be construed as progressive and influential for the era, the film more accurately serves as a reflection of the larger socio-political context of 1960s America in regards to both attitudes of opposition and acceptance of interracial marriage. Furthermore, a brief comparison is also made between the film and contemporary issues surrounding race relations in 21st Century America.

Cleaver and Juminer: Black Man and White Woman

1977 ◽  
Vol 11 (1) ◽  
pp. 25
Author(s):  
E. S. Miller
Keyword(s):  
White Woman ◽  
Black Man
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