African American Scholars and the Margins of DH

PMLA ◽  
2020 ◽  
Vol 135 (1) ◽  
pp. 152-158
Author(s):  
Howard Rambsy II

Let's Cut to the Chase: African American Scholars Occupy the Margins of this Expansive Realm Known as Digital Humanities. Do well-intentioned people want more diversity in DH? Sure, they do. Do black folks participate in DH? Of course, we do. But we've witnessed far too many DH panels with no African American participants or with only one. We've paid close attention to where the major funding for DH goes. Or, we've carefully taken note of who the authors of DH-related articles, books, and bibliographies are. We've studied these things closely enough to realize who resides in prime DH real estate and who doesn't. We could speak defiantly about our marginal status the way Toni Morrison once did when she quipped, “I'm gonna stay out here on the margin, and let the center look for me” (87). Yaasss!At the same time, though, it's worth thinking about some of the reasons why African American scholars dwell on the margins of the DH field. The processes by which we pursue graduate study and become participants in the field of African American literary studies account for why we are slow or reluctant to embrace DH. There's also the matter of segregation—our persistent exclusion from projects and opportunities that are ostensibly open to all but invariably involve primarily white scholars. Immersion in the field of African American literary studies and conversations with senior and emergent scholars reveal some of the reasons why we stand so far from the center of the DH community.

Author(s):  
Tarek El-Ariss

This chapter provides an overview of the book's main themes. The book draws on literary studies, media studies, and digital humanities, and focuses on the Arab world in a transnational context in order to examine the radical transformations affecting the way stories are told, dissent is expressed, and canons are produced in the new millennium. Focusing on new writing from Egypt and the Gulf, it explores these writings' fascination with and appropriation of digital media. These writings chart a particular redefinition of what Arab culture means in the digital age, pointing to the changing meaning of Arab culture (novels, authors, education, etc.) and of traditional codes of civility (adab) as a model of subjectivity in a context shaped by technological development and political upheaval.


2020 ◽  
Vol 13 (3) ◽  
pp. 305-318 ◽  
Author(s):  
Valentina Rapetti

Tina Benko is an American stage, screen and television actress who has steadily trodden the Broadway boards for twenty years while starring in films and TV series and teaching acting and movement in New York City. An intensely focused and versatile performer, Benko has played in a broad variety of genres, ranging from screwball and Shakespearean comedies to realistic Russian, Scandinavian and American plays. In this interview, she discusses the factors that attracted her to drama and theatre, her acting training and approach to character-building, and theatre as a space for healing and reconciliation as she experienced it while working in Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American theatre and opera director Peter Sellars, with texts by African American Nobel Laureate Toni Morrison, and music and lyrics by Malian singer-songwriter Rokia Traoré.


1995 ◽  
Vol 3 (1) ◽  
pp. 1-14
Author(s):  
Terence J. Keegan

AbstractPostmodernism involves recognizing that the objective certitude sought by modern scientific and humanistic methods is not possible. Deconstruction paved the way for postmodernism in literary studies, but it is most evident in the work of some reader-response critics. Many reader-response critics utilize the indeterminacy of postmodern insight but are hesitant to accept its subjectivist implications. Biblical scholars tend to prefer methods that yield verifiable results, but some have successfully used postmodern approaches. Christian scholars, though committed to an idea of transcendence to which postmodernism seems to deny access, can still profitably use postmodern approaches but must be prepared to deal with such questions as inspiration and the relation of scholarship to the Church.


2020 ◽  
Vol V (IV) ◽  
pp. 45-53
Author(s):  
Fayaz Ahmad Kumar ◽  
Colette Morrow

This paper analyzes the influence of the Black Power movement on the AfricanAmerican literary productions; especially in the fictional works of Toni Morrison. As an African-American author, Toni Morrison presents the idea of 'Africanness' in her novels. Morrison's fiction comments on the fluid bond amongst the African-American community, the Black Power and Black Aesthetics. The works of Morrison focus on various critical points in the history of African-Americans, her fiction recalls not only the memory of Africa but also contemplates the contemporary issues. Morrison situates the power politics within the framework of literature by presenting the history of the African-American cultures.


Artnodes ◽  
2019 ◽  
Author(s):  
Ana Rodriguez Granell

It gives us great pleasure to present the 23rd issue of the magazine as a heterogeneous collection that brings together selected articles submitted in response to three different calls for contributions. On the one hand, we bring the volume focusing on media archaeology to a close with this second series of texts. The section on Digital Humanities also comprises an interesting series of contributions related to the 3rd Congress of the International Society of Hispanic Digital Humanities. The last section of this issue brings together another set of articles submitted in response to the magazine’s regular call for contributions, including different perspectives on issues that fall within the magazine’s scope of interest. All the sections and research contained here are unavoidably disparate from each other, yet, when taken as a whole, the reader will realise that there is a common thread throughout this issue, focusing on the impact of certain technologies have had on the way we view the past. The historical scope of technologies does not only operate in a single direction, but rather throughout time in its entirety.


2021 ◽  
Vol 9 (2) ◽  
pp. 74-86
Author(s):  
Ogochukwu Constance Ngige ◽  
Oludele Awodele ◽  
Oluwatobi Balogun

Artificial intelligence (AI) has continued to disrupt the way tasks are being carried out, finding its way into almost all facets of human existence, and advancing the development of human society. The AI revolution has made huge and significant inroad into diverse industries like health, energy, transport, retail, advertising, et cetera. AI has been found to assist in carrying out tasks more quickly and efficiently too. Tasks which were hitherto difficult have been simplified significantly through the use of AI. Slow adoption in judiciary has however been reported, compared to other sectors. A lot of factors have been attributed to this, with AI bias being an issue of concern. Decisions emanating from courts have a significant impact on an individual’s private and professional life. It is thus imperative to identify and deal with bias in any judicial AI system in order to avoid delivering a prejudiced and inaccurate decision, thereby possibly intensifying the existing disparities in the society. This paper therefore surveys judicial artificial intelligence bias, paying close attention to types and sources of AI bias in judiciary. The paper also studies the trust-worthy AI, the qualities of a trust-worthy artificial intelligence system and the expectations of users as it is being deployed to the judiciary, and concludes with recommendations in order to mitigate the AI bias in Judiciary.


Author(s):  
Steven Loza
Keyword(s):  

In this chapter, the author reflects on Wilson's impact on music and the world, and the way in which he accomplished this. Wilson passed away on September 8, 2014. The author describes Wilson as a mosaic. He came from a very African American context, a place, a heritage—something that molded him and that he proceeded to mold into life. Wilson never stood still, always seeking change and renewal, challenges and learning, innovative newness and tradition. Wilson's art can also be described as mestizo as well as cosmopolitan But there remains a dimension of his ideology that dominates the above labels and analytical concepts. And that is his primal identity as a black man.


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