scholarly journals The Traumatic Mark in Invisible Man

2021 ◽  
Vol 11 (12) ◽  
pp. 1695-1701
Author(s):  
Xinyao Du

Invisible Man is the representative work of Ralph Ellison, a famous contemporary American black writer, which mainly describes the growing process of a black man. The aim of the thesis is to analyze the racial trauma that the protagonist experienced at school, in the factory and political group, the three kinds of symptoms after the trauma-hyperarousal, intrusion and constriction, and the result that the protagonist cannot recover from his trauma due to racial discrimination.

2007 ◽  
Vol 41 (4) ◽  
pp. 820
Author(s):  
Robert Butler ◽  
Lucas E. Morel
Keyword(s):  

2021 ◽  
pp. 1-29
Author(s):  
DANIEL ROBERT KING

In this article I examine the editing and publishing of Ralph Ellison's Invisible Man by Albert Erskine. Over the course of the piece, I deploy letters, drafts, and other material drawn from both Ellison's archive in the Library of Congress and Erskine's own archive at the University of Virginia to unpack how Erskine, as a white editor at a powerful international publishing house, conceived of his role in shepherding to market and marketing what he saw as a major literary work by an African American author.


The New Territory: Ralph Ellison and the Twenty-First Century offers fifteen original essays that seek to examine and re-examine Ellison’s life and work in the context of their meanings for our own age, the early 21st century, the age of Obama and of a nation that is simultaneously post-racial and all-too-racial. Following a careful introduction that situates Ellison’s writings in the context of new approaches and abiding interest in his work, while also exploring the affinity between Ralph Ellison’s fiction and commentary and Barack Obama’s political and literary sensibilities, the book offers four new essays examining Ellison’s 1952 masterpiece, Invisible Man. It then turns to his unfinished second novel, Three Days Before the Shooting . . . , with five detailed chapters exploring that powerful and elusive narrative—the first sustained, book-length treatment of that multi-faceted work (the source of the shorter, edited novel Juneteenth). The New Territory concludes with five chapters that discuss Ellison’s political, cultural, and historical significance, asking how Ellison speaks to the America of 2016 and beyond. In The New Territory, we see how clearly Ellison foresaw and articulated both the challenges and the possibilities of America in the 21st century. Together, these chapters offer a thorough and penetrating assessment of Ellison at this crucial historical moment and the most comprehensive interpretive study of the writer best suited to act as the cultural prophet of 21st-century America.


1971 ◽  
Vol 4 (2) ◽  
pp. 227-231
Author(s):  
Frederick L. Radford

In our society it is not unusual for a Negro to experience a sensation that he does not exist in the real world at all. He seems rather to exist in the nightmarish fantasy of the white American mind as a phantom that the white mind seeks unceasingly, by means both crude and subtle, to lay.(Ralph Ellison, Shadow and Act (New York, 1964), p. 304)It is still true, alas, that to be an American Negro male is also to be a kind of walking phallic symbol: which means that one pays, in one's own personality, for the sexual insecurity of others.(James Baldwin, Nobody Knows My Name (New York, 1961), p. 172)


2011 ◽  
Vol 2011 ◽  
pp. 20-28
Author(s):  
Carl Paris

Postmodern articulations in contemporary theatrical modern dance have produced new black male expressions–straight and gay–that disrupt rigid and reductive representations of identity and masculinity and also open up pluralistic and libratory possibilities through the black male dancing body. I use this context to examine power (and empowerment) in the work of choreographers Bill T. Jones, Ronald K. Brown, Reggie Wilson, Nicholas Leichter, Helanius Wilkins, and Kyle Abraham, who approach the particularity of black male identity from postmodern perspectives. My idea of power, here, is inspired by Ralph Ellison's nameless black protagonist in Invisible Man whose search for self-understanding and identity stands as both a literal and allegorical struggle for the power over one's “visibility” and agency as a black man. Through identifying key philosophical, stylistic, and thematic representations across the choreographers, I explore how power negotiates and is negotiated around issues of self, sexuality, and identity in the black male dancing body.


JAMA ◽  
1981 ◽  
Vol 246 (14) ◽  
pp. 1591-1592
Author(s):  
D. S. Mendelson
Keyword(s):  

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