Plantation comic modes

2001 ◽  
Vol 14 (1) ◽  
pp. 1-24 ◽  
Author(s):  
William Tynes Cowan
Keyword(s):  
African American ◽  
Social Position ◽  
The Self ◽  
Antebellum South ◽  
On Demand ◽  
Comprehensive View ◽  
Plantation Life ◽  
Everyday Interaction ◽  
Big House ◽  
American Humor

AbstractThis essay attempts to synthesize disparate sources regarding African-American humor in the antebellum South into a comprehensive view of comic modes on the plantation. In part, the essay addresses the question of slave compliance with white demands that the slave be funny on demand. Such compliance provided slaveholders with evidence that their slaves were not only content in their social position but also happy. I try to navigate through the various arguments related to the Sambo stereotype by examining slave humor in various realms of the plantation: from the big house to the quarter to the field; and from everyday interaction to special occasions such as the annual corn shucking festival. By identifying various domains of plantation life, each with its own particular mode of humor, I am able to draw a picture of the role humor played in negotiation identities on the plantation. These negotiations allowed both white and black members of the plantation community to create and maintain images of the Self.

Examining the Self-Reported Sexual Behaviors of African American Adolescents

2009 ◽  
Author(s):  
Rhonda Lewis-Moss ◽  
Chakema Carmack ◽  
Jamilia Sly ◽  
Shani Roberts
Keyword(s):  
African American ◽  
Sexual Behaviors ◽  
African American Adolescents ◽  
The Self

Nuanced and Dissenting Voices

2017 ◽  
Author(s):  
Peggy J. Miller ◽  
Grace E. Cho
Keyword(s):  
African American ◽  
Working Class ◽  
Cultural Context ◽  
Self Esteem ◽  
The Self ◽  
African American Parents ◽  
Dominant Discourse ◽  
Social Positioning ◽  
Conservative Christian ◽  
Bakhtinian Theory

Chapter 4, “Nuanced and Dissenting Voices,” examines the nuances diverse parents brought to their understandings of childrearing and self-esteem. Framed within Bakhtinian theory, this chapter gives voice to African American parents, working-class parents, conservative Christian parents, and mothers, particularly women who had experienced low self-esteem. These parents endorsed self-esteem, but refracted the language of the self-esteem imaginary in ways that made sense, given their diverse values and ideological commitments, social positioning, and idiosyncratic experiences. This chapter also describes the perspectives of two groups from the larger study who challenged key elements of the dominant discourse: grandmothers of Centerville children who raised their children in an earlier era, and Taiwanese parents who grew up in a different cultural context but were temporarily residing and raising their children in Centerville. These two groups of dissenters underscore again the book’s theme that self-esteem is rooted in time and place.

How Children Appropriate Themes they Find in Media Products

2003 ◽  
Vol 21 (1) ◽  
pp. 81-96
Author(s):  
Michael Charlton
Keyword(s):  
Empirical Study ◽  
Picture Books ◽  
The Self ◽  
Personal Life ◽  
Everyday Interaction ◽  
Observation Protocols

Norman Holland theorizes that people seek themes in media which affect them personally and are congruent with topics in their own life's situation. Yet while doing so, individuals try to make sure that they are not confronted with issues that they do not wish to deal with or are emotionally draining. Michail Bakhtin makes similar assertions in his Theory of Appropriation through his research on the influence that language has on the ideas of being to be true to oneself (“ownness”) and to becoming a stranger to oneself (“otherness”). An empirical study of these hypotheses is supported through a collection of 80 observation protocols of pre-schoolers made during their everyday interaction with different forms of media (picture books, cassette tapes, made for TV-movies). Both claim that the connection between personal life topics and media themes as well as the self-preserving reception process, were confirmed in this study.

Exploring Psychosocial Task Resolution and Self-Concept among African-American Adolescents

1996 ◽  
Vol 82 (3) ◽  
pp. 803-810
Author(s):  
Craig C. Brookins
Keyword(s):  
African American ◽  
Family Relations ◽  
African American Youth ◽  
African American Adolescents ◽  
Well Being ◽  
The Self ◽  
Self Concept ◽  
Developmental Task ◽  
Multiple Components ◽  
Highly Correlated

Developmental task resolution and self-concept of adolescents were examined for a sample of 110 African-American youth. The Erikson Psychosocial Stage Inventory was used to measure Erikson's stages of psychological development and the Bronstein-Cruz Child/Adolescent Self-concept and Adjustment Scale was used to measure multiple components of the self-concept. Scores for Self-concept and Resolution of Identity stages were highly correlated although scores on Resolution of Identity, commonly seen as the primary psychosocial task of adolescence, were not related to scores on either Emotional Well-being or Family Relations. The results are discussed in terms of improving understanding of relationships between processes in development, identity, and other salient psychosocial variables.

African American Queer Cinema

2021 ◽  
Author(s):  
Victor Evans
Keyword(s):  
African American ◽  
Documentary Film ◽  
Film Genre ◽  
On Demand ◽  
Queer Cinema ◽  
Hiv Epidemic ◽  
The Color Purple ◽  
Academy Award ◽  
Black Queer ◽  
Color Purple

African American queer cinema was born as a reaction to the AIDS/HIV epidemic as well as the blatant homophobia that existed within the Black community in the 1980s. It began with the pioneering works of queer directors Isaac Julien and Marlon Riggs and continued during the new queer cinema movement in the 1990s, particularly including the works of lesbian queer director Cheryl Dunye. However, these works were infinitesimal compared to the queer works featuring primarily White lesbian, gay, bisexual, transgender, and queer (LGBTQ) protagonists during that time. That trend continues today as evidenced by looking at the highest-grossing LGBTQ films of all times: very few included any African American characters in significant roles. However, from the 1980s to the 2020s, there have been a few Black queer films that have penetrated the mainstream market and received critical acclaim, such as The Color Purple (Spielberg, 1982), Set It Off (Gary, 1996), and Moonlight (Jenkins, 2016), which won the 2018 Academy Award for Best Picture. The documentary film genre has been the most influential in exposing audiences to the experiences and voices within the African American queer communities. Since many of these films are not available for viewing at mainstream theaters, Black queer cinema is primarily accessed via various cable, video streaming, and on-demand services, like Netflix, Hulu, and HBO.

Peran Strategis Penyuluh Swadaya dalam Paradigma Baru Penyuluhan Pertanian Indonesia

2016 ◽  
Vol 32 (1) ◽  
pp. 43 ◽  
Author(s):  
NFN Syahyuti
Keyword(s):  
Agricultural Extension ◽  
Social Position ◽  
The Self ◽  
Extension System ◽  
Self Help ◽  
The Future ◽  
Long Time ◽  
The Government

<p><strong>English</strong><br />Involvement of farmers as actors to support extension activities have been underway for a long time with various approaches. In Indonesia, it started from the involvement of Kontak Tani (Advanced Farmers) in Supra Insus era, then farmer to farmer extension at P4S, as well as Penyuluh Swakarsa (Independent Extension Workers)” (in 2004), and the latest is Penyuluh Swadaya (Self-Help Agricultural Extension Workers) since 2008. The existence of self-help farmer extension workers are recognized since the enactment of Law No. 16/2006 on Extension System of Agricultural, Forestry and Fisheries. However, even though it runs nearly 10 years, the development of the role of self-help farmer extension workers is not optimal. This paper is a review of various posts including the recent research on self-help farmer extension workers and it aims to study the potential and problems of self-help farmer extension workers. It shows that the self-help farmer extension workers have a self-help capabilities and distinctive social position and they have to get right role. Appropriate support should be given to self-help farmer extension workers as the agricultural extension worker in the future and it must be distinguished between the government and private extension workers. </p><p> </p><p><strong>Indonesian</strong><br />Pelibatan petani sebagai pendukung dan pelaku langsung dalam kegiatan penyuluhan telah berlangsung cukup lama dengan berbagai pendekatan. Di Indonesia, hal ini dimulai dari pelibatan kontak tani pada era Bimas sampai Supra Insus, lalu pendekatan “penyuluhan dari petani ke petani” (farmer to farmer extension) di P4S, serta pengangkatan penyuluh swakarsa (tahun 2004), dan terakhir penyuluh swadaya (sejak tahun 2008). Keberadaan penyuluh swadaya diakui secara resmi semenjak diundangkannya UU No. 16 tahun 2006 tentang Sistem Penyuluhan Pertanian, Kehutanan dan Perikanan. Namun, meskipun sudah berjalan hampir 10 tahun, perkembangan peran penyuluh swadaya belum optimal. Tulisan ini merupakan review dari berbagai tulisan termasuk penelitian tentang penyuluh swadaya terakhir, untuk mempelajari potensi dan permasalahan penyuluh pertanian swadaya saat ini. Ditemukan bahwa penyuluh swadaya memiliki kapabilitas dan posisi sosial yang khas, sehingga batasan perannya mestilah diberikan secara tepat. Dukungan yang tepat harus diberikan kepada penyuluh swadaya sebagai sosok penyuluh pertanian yang strategis di masa mendatang, yang mesti dibedakan dengan penyuluh pemerintah dan penyuluh swasta.</p>

scholarly journals “At This Age, This Is Who I Am”: CeCe Winans, Exilic Consciousness, and the American Popular Music Star System

2018 ◽  
Vol 2 (1) ◽  
pp. 475-485 ◽  
Author(s):  
Angela M. Nelson
Keyword(s):  
African American ◽  
Popular Culture ◽  
Popular Music ◽  
Gospel Music ◽  
Kingdom Of God ◽  
The Self ◽  
Star System ◽  
Christian Women ◽  
American Popular Culture ◽  
American Popular Music

Abstract My paper addresses the intersections of the American popular music star system, Black female Gospel singers, Gospel Music, and the exilic consciousness of the Sanctified Church with special attention to life and music of Gospelwoman Priscilla Marie “CeCe” Winans Love. I argue that CeCe Winans and the marketing campaign for Winans’ album Let Them Fall in Love, is indicative of the encroachment of American popular music’s star system into self-elected “exiled” Gospel Music and into the lives of “exiled” Gospelwomen. Gospelwomen are 20th and 21st century urban African American Protestant Christian women who are paid for singing Gospel Music and who have recorded at least one Gospel album for national distribution. The self-elected exile of Gospelwomen refers to their decision to live a life based on the values of the Kingdom of God while encountering and negotiating opposing values in American popular culture. Gospelwomen and Gospel Music are impacted by the demands of stardom in America’s celebrity culture which includes achieved success and branding. Gospelwomen negotiate these components of stardom molding them into mechanisms that conform to their beliefs and needs.

Dunbar, Paul Laurence

2017 ◽  
Author(s):  
David L. Dudley
Keyword(s):  
African American ◽  
African Americans ◽  
William Dean Howells ◽  
Antebellum South ◽  
Negative Stereotypes ◽  
Paul Laurence Dunbar ◽  
The Public ◽  
Black Experience ◽  
Political Views ◽  
African American Artists

Paul Laurence Dunbar, born in Dayton, Ohio, in 1872, became the first African American to make his living solely as a writer. When he died of tuberculosis in 1906, he was perhaps the most famous and best-loved black man in America. During a short but prolific career, Dunbar composed about five hundred poems, one hundred short stories, four novels, many essays, and song lyrics. His public performances of his own works were wildly popular, and generations of African Americans were raised knowing, often by heart, his best-loved poems. In 1896, William Dean Howells, dean of American literary critics, hailed Dunbar’s work, but singled out the dialect poems for special praise. The public preferred them, too. For the decade that remained to him, Dunbar continued to write dialect poems, some of which seem to reinforce negative stereotypes of African Americans, and others that appear to romanticize the “good old days” of the antebellum South. On the other hand, Dunbar produced essays and poetry critical of America and the severe limits and indignities imposed on African Americans. Why would such a writer produce works so contradictory? This has been the crux of Dunbar studies almost from the time of his death. His critical reception reveals much about the taste and political views of subsequent generations of his readers and critics, who would do well to remember the enormous challenges facing Dunbar and all African American artists who strove to find their voices and make a living during those post-Reconstruction years, the “nadir” of the black experience in America.

Where Honor is Due: Frederick Douglass as Representative Black Man

Prospects ◽  
1992 ◽  
Vol 17 ◽  
pp. 177-189 ◽  
Author(s):  
Wilson J. Moses
Keyword(s):  
African American ◽  
19Th Century ◽  
Ralph Waldo Emerson ◽  
Abraham Lincoln ◽  
Frederick Douglass ◽  
The Self ◽  
Anglo Saxon ◽  
American Tradition ◽  
African American Tradition ◽  
The 19Th Century

Frederick Douglass may or may not have been the greatest African American abolitionist and orator of the 19th Century, but he was certainly the most accomplished master of self-projection. His autobiographical writings demonstrate the genius with which he seized and manipulated mainstream American symbols and values. By appropriating the Euro-American myth of the self-made man, Douglass guaranteed that his struggle would be canonized, not only within an African American tradition, but within the traditions of the mainstream as well. He manipulated the rhetoric of Anglo-Saxon manhood as skillfully as did any of his white contemporaries, including such master manipulators as Abraham Lincoln, Ralph Waldo Emerson, and Phineas T. Barnum. I mention Douglass along with these wily exemplars of American showmanship, not because I want to drag out embarrassing cliches about making heroes more human, but in order to address the truly monumental nature of Douglass's accomplishments. Douglass, like Lincoln, Emerson, and Barnum, was abundantly endowed with the spiderish craft and foxlike cunning that are often marks of self-made men.

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