scholarly journals Historiography in “Beginnings: Malcolm” by Amiri Baraka

2014 ◽  
Vol 40 ◽  
pp. 22-28
Author(s):  
Maryam Hosseini ◽  
Hossein Pirnajmuddin
Keyword(s):  
African American ◽  
Black People ◽  
Amiri Baraka ◽  
Western Literature ◽  
The Past ◽  
History Of ◽  
Literature Culture ◽  
Insight Into ◽  
The Way

This article discusses Aimiri Baraka‘s concern with the history of black people in his poem ―Beginnings: Malcolm‖. The writers try to shed some light on the way Baraka‘s historiography challenges the white supremecist discourses through a rewriting of the African American past that blurs the boundaries of myth and history, fact and fiction, in a postmodern manner. It is argued that through the use of the central African myth of Esu/Elegba and drawing on traditions of Christianity and Western literature/culture, Baraka‘s poem offers an uncanny insight into the past.

Re-membering the Clichés

2009 ◽  
Vol 2 (1) ◽  
pp. 146-156
Author(s):  
Cindy Gabrielle
Keyword(s):  
African American ◽  
Black People ◽  
African American History ◽  
African Woman ◽  
Old Field ◽  
Amiri Baraka ◽  
Woman Warrior ◽  
The Past ◽  
Charles Fuller ◽  
Lorraine Hansberry

These days authors who use stereotypical characters such as the African woman warrior or the old field slave smoking his pipe and humming blues songs would probably be considered as intellectually biased or mentally colonized. Yet, for some African American writers like Amiri Baraka, Charles Fuller and Lorraine Hansberry, these characters represent a link between Black people and their past or, to use Pierre Nora’s term, they are lieux de mémoire. This is why these authors oppose the more or less general attitude which consists in dismissing these clichéd-figures from the field of representation, for this would amount to erasing an entire segment of African American history. Going against the trend of the time, these playwrights thus give a voice to those silenced by normative history and, to decolonize symbols which after all belong to the past of Black people, Baraka in The Slave (1964), Fuller in A Soldier’s Play (1981) and Hansberry in Les Blancs (1966) also invest these characters with a new significance.

scholarly journals ‘A Likeness made From First Hand Witness’?: The Discursive Position of a Purported Crazy Horse Photograph

2021 ◽  
Author(s):  
◽  
Grace Campbell Russell
Keyword(s):  
Native Americans ◽  
Manifest Destiny ◽  
American Frontier ◽  
Cultural Object ◽  
The Past ◽  
History Of ◽  
The Way

<p>This dissertation is concerned with the ways in which photographs are discursively deployed and used in the writing of history. More specifically, it will consider how photos, and the historical, scientific, ethnographic and romantic discourses surrounding them, are used to erase or ‘make safe’ the traces of the radical resistances of dominated groups within colonial frameworks. The case explored here concerns the tintype photograph claimed as being of the Lakota chief and warrior Crazy Horse (c.1840-1877). Exhibited by the Custer Battlefield Museum in Montana, the claim that this photograph is of Crazy Horse is controversial. It is generally thought that no visual likeness of Crazy Horse exists; and his refusal to be photographed can be read as a practice of opposition to his assimilation into colonial narratives and accounts of American frontier history. In claiming the photo to be of Crazy Horse, the history of his resistance is rewritten and repositioned. This changes the way he becomes knowable and understandable within the contexts of (neo)colonial discourses and narratives, in which Native Americans are often relegated to the past, and appear either as casualties of the policies of Manifest Destiny, or as a romantic other which has been symbolically integrated into American mythic culture. This dissertation focuses on how the claim that this photograph is of Crazy Horse is made, and how the various associated cultural fields (photography, historiography, museology) are affected by, and play into, such a claim. This involves identifying the discursive processes and disciplinary mechanisms through which meaning is produced in relation to a particular cultural object. It considers the supposed photograph of Crazy Horse as an example of how history assigns significance to objects “in terms of the possibilities they generate for producing or transforming reality” (de Certeau, 1986:202), rather than as representations or reflections of reality.</p>

scholarly journals The Paranormal Surrounds Us: Psychic Phenomena in Literature, Culture, and Psychoanalysis by Richard Reichbart

2020 ◽  
Vol 34 (3) ◽  
pp. 614-619
Author(s):  
James Carpenter
Keyword(s):  
African American ◽  
Native American ◽  
Western Literature ◽  
Unconscious Processes ◽  
Psi Phenomena ◽  
Literature Culture ◽  
And Behavior ◽  
Ted Talks ◽  
Intensive Psychotherapy

The Paranormal Surrounds Us is a tied-together collection of essays by Richard Reichbart, a practicing psychoanalyst whose several strong interests and lifelong love for the mystery of psi, and sense of adventure and ethical sensibility, give the collection several points of focus. In addition to his current analytic practice of many decades, he has also been a student of literature, a playwright, a Yale-trained attorney, and an activist for Native American and African American rights. The book is as scattered as he has been, but it is so full of insights and pleasing prose, that it doesn’t lose much for that. In this time when we prefer our intellectual material in bite-sized chunks, like sparky TED Talks and internet articles, this may feel especially friendly to many. If there is an implicit, underlying focus to the work, it may be implicitly biographical: one curious man’s study of, to paraphrase Freud, the vicissitudes of psi – its expression in our finest literature, in our private and shared unconscious processes, in our different subcultures, in the deepest privacy of intensive psychotherapy, and in the legal and cultural presumptions that implicitly structure our thinking and behavior.  There are three main sections to the book: Psi Phenomena in Western Literature, Psi Phenomena and Psychoanalysis, and Psi Phenomena and Culture.

Black Music USA: From African to African American Music

2018 ◽  
pp. 3-12
Author(s):  
Robert Sacré
Keyword(s):  
African American ◽  
Black People ◽  
Gospel Music ◽  
American Music ◽  
Black Music ◽  
Deep South ◽  
African American Music ◽  
History Of ◽  
Primitive Forms ◽  
Work Songs

This chapter discusses the history of African American Music. Many of the roots of black American music lie in Africa more than four hundred years ago at the start of the slave trade. It is essential to realize that the importance given to music and dance in Africa was reflected among black people in America in the songs they sang, in their dancing, and at their folk gatherings. As such, every aspect of jazz, blues, and gospel music is African to some degree. Work songs and the related prison songs are precursors of the blues. One can assume that primitive forms of pre-blues appeared around 1885, mostly in the Deep South and predominantly in the state of Mississippi. However, it was several more years before the famous AAB twelve-bar structure appeared, and when it did, one of its leading practitioners was Charley Patton.

Veronicas and Artists

2017 ◽  
Keyword(s):  
Contemporary Art ◽  
Religious Images ◽  
The Public ◽  
The Past ◽  
History Of Art ◽  
The Status ◽  
History Of ◽  
The Way ◽  
Contemporary Artists

Chapter One deals with several central issues with regard to understanding the role of religious motifs in contemporary art. Besides being a repetition of imagery from the past, religious motifs embedded in contemporary artworks become a means to problematise not only the way different periods in the history of art are delimited, but larger and seemingly more rigid distinctions as those between art and non-art images. Early religious images differ significantly from art images. The two types are regulated according to different sets of rules related to the conditions of their production, display, appreciation and the way images are invested with the status of being true or authentic instances of art or sacred images. Chapter One provides a discussion of the important motif of the image not made by an artist’s hand, or acheiropoietos, and its survival and transformation, including its traces in contemporary image-making practices. All images are the result of human making; they are fictions. The way the conditions of these fictions are negotiated, or the way the role of the maker is brought to visibility, or concealed, is a defining feature of the specific regime of representation. While the cult image concealed its maker in order to maintain its public significance, and the later art image celebrated the artist as a re-inventor of the old image, contemporary artists cite religious images in order to reflect on the very procedures that produce the public significance and status of images.

Western Europe and Scandinavia

2012 ◽  
Author(s):  
Laurence Brockliss
Keyword(s):  
Government Policy ◽  
Western Europe ◽  
Visual Representations ◽  
Childhood Studies ◽  
History Of Childhood ◽  
The Past ◽  
Sharp Focus ◽  
The World ◽  
History Of ◽  
Insight Into

Childhood in western Europe is obviously a vast topic, and this entry will approach it historically and largely chronologically. The study of childhood is still relatively new, and historians have sometimes struggled to construct a history of childhood, with very few firsthand accounts and limited archives. So many children left very few traces of their lives, and historians have had to piece together their history, not from diaries or archives but from court reports, visual representations, and childcare manuals. They have had to struggle to recapture the world of childhood in eras prior to 1800, when sources are especially limited. They, like others interested in childhood studies, have had to address the issue of how to define a child and what childhood is. They have had to contemplate the different historical meanings of the word child prior to 1600 and to resist the temptation to believe that childhood has inevitably improved through the centuries. They have also had to become aware of the dangers of historicizing a phenomenon that has few stable parameters and, in some cultures, may not even exist at all. In several languages there is no word for child; even in English, the word has drastically shifted its meaning over the centuries. These shifts need to be historicized in order to see both the continuities and the discontinuities between the past and the present that suggest that childhood has always been a time of suffering; children have always been the victims of perilous disease, parental neglect, government policy, war, etc. Concurrently, children have also always been the hope of the future, the focus of special love and attention. A historical perspective on European childhoods brings this insight into sharp focus.

scholarly journals Embracing Germany: Interwar German Society and Black Germans through the Eyes of African American Reporters

2017 ◽  
Vol 52 (2) ◽  
pp. 447-473
Author(s):  
ROBBIE AITKEN
Keyword(s):  
African American ◽  
Race Relations ◽  
Black People ◽  
German Society ◽  
Black Diaspora ◽  
Apparent Lack ◽  
Black Germans ◽  
The Us ◽  
Insight Into

This article looks at the published reports on visits made to interwar Germany by prominent black journalists Robert S. Abbot, J. A. Rogers and Lewis McMillan. Drawing on their own experiences as well as their engagement with German-based blacks, the reporters contrasted the oppressive conditions black people faced in the US with the apparent lack of colour prejudice in Germany. Their coverage serves as a critique of race relations in the US, while also providing snapshots into the conditions under which black Germans lived as well as an insight into the writers’ own perceptions of a broader black diaspora in development.

History Repeating Itself. The function of turning points and continuity in three historical narratives on operetta

2017 ◽  
Vol 29 (1) ◽  
pp. 102
Author(s):  
Mikael Strömberg
Keyword(s):  
Turning Points ◽  
Source Material ◽  
Historical Narrative ◽  
Historical Narratives ◽  
Complex Relationship ◽  
Narrative Strategy ◽  
The Past ◽  
History Of ◽  
The Way

The article’s primary aim is to discuss the function of turning points and continuity within historiography. That a historical narrative, produced at a certain time and place, influence the way the historian shapes and develops the argument is problematized by an emphasis on the complex relationship between turning points and continuity as colligatory concepts within an argumentative framework. Aided by a number of examples from three historical narratives on operetta, the article stresses the importance of creating new narratives about the past. Two specific examples from the history of operetta, the birth of the genre and the role of music, are used to illustrate the need to revise not only the use of source material and the narrative strategy used, but also how the argument proposed by the historian gathers strength. The interpretation of turning points and continuity as colligatory concepts illustrate the need to revise earlier historical narratives when trying to counteract the repetitiveness of history.

History and Change

2018 ◽  
pp. 483-500
Author(s):  
David Paroissien
Keyword(s):  
Nineteenth Century ◽  
Historical Novels ◽  
The Past ◽  
Two Cities ◽  
History Of ◽  
The Way

This chapter questions the view that Dickens took little interest in history and remained ignorant of the challenge of writing about the past. Following John Forster’s dismissal of A Child’s History of England as ‘that little book’, which ‘cannot be said to have quite hit the mark’, A Child’s History, Barnaby Rudge, and A Tale of Two Cities have received often unsympathetic treatment, particularly with respect to the way the past is used in his two historical novels. Read within the context of ideas about history advocated by Carlyle and Macaulay in the 1830s, this chapter contends that fresh light can be shed on Dickens’s awareness of historiography and on his familiarity with an invigorated approach to the discipline advocated by the two most prominent historians of the first half of the nineteenth century.

Evolution of the treatment of cerebral vasospasm

2006 ◽  
Vol 20 (6) ◽  
pp. 1-4 ◽  
Author(s):  
Scott Y. Rahimi ◽  
John H. Brown ◽  
Samuel D. Macomson ◽  
Michael A. Jensen ◽  
Cargill H. Alleyne
Keyword(s):  
Subarachnoid Hemorrhage ◽  
Natural History ◽  
Cerebral Vasospasm ◽  
Successful Treatment ◽  
Aneurysmal Subarachnoid Hemorrhage ◽  
Disease Process ◽  
Acute Setting ◽  
The Past ◽  
History Of ◽  
Insight Into

✓ Cerebral vasospasm following aneurysmal subarachnoid hemorrhage (SAH) is a disease process for which the lack of effective treatments has plagued neurosurgeons for decades. Historically, successful treatment after SAH in the acute setting was often followed by a rapid, uncontrollable deterioration in the subacute interval. Little was known regarding the nature and progression of this condition until the mid-1800s, when the disease was first described by Gull. Insight into the origin and natural history of cerebral vasospasm came slowly over the next 100 years, until the 1950s. Over the past five decades our understanding of cerebral vasospasm has expanded exponentially. This newly discovered information has been used by neurosurgeons worldwide for successful treatment of complications associated with vasospasm. Nevertheless, although great strides have been made toward elucidating the causes of cerebral vasospasm, a lasting cure continues to elude experts and the disease continues to wreak havoc on patients after aneurysmal SAH.

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