Recognizing the Ethiopian Flag

Black Land ◽  
2019 ◽  
pp. 21-50
Author(s):  
Nadia Nurhussein
Keyword(s):  
Nineteenth Century ◽  
Walt Whitman ◽  
Frederick Douglass ◽  
Paul Laurence Dunbar ◽  
African America ◽  
Symbolic Value

This chapter uncovers the beginnings of a more grounded Ethiopianism in its treatment of nineteenth-century lyric verse by Walt Whitman, Paul Laurence Dunbar, and others written on the topic of Ethiopia, when abstract Ethiopianism was a prominent ideology in African America. It addresses the politics of Walt Whitman's poem, particularly in the poem's “recognition” of the Ethiopian flag, in light of the press's treatment of the Anglo-Abyssinian conflict. Paul Laurence Dunbar's interpretation of the Ethiopian flag's symbolic value, in “Ode to Ethiopia” and “Frederick Douglass,” positions him uncomfortably alongside Whitman, a poet he found distasteful. His poems present an “Ethiopia” invigorated with nationalism and, unexpectedly, with militarism. The chapter also talks about two poems about Emperor Tewodros by women: “Magdala,” which appeared in the 1875 book Songs of the Year and Other Poems by “Charlton,” and “The Death of King Theodore,” in E. Davidson's 1874 The Death of King Theodore and Other Poems.

Konsep Demokrasi Walt Whitman di Masa Kepresidenan Donald Trump1

Metahumaniora ◽  
2017 ◽  
Vol 7 (2) ◽  
pp. 87
Author(s):  
Lestari Manggong
Keyword(s):  
Nineteenth Century ◽  
Walt Whitman ◽  
Freedom Of Speech ◽  
American People ◽  
American Democracy ◽  
Donald Trump ◽  
Critical View ◽  
Pragmatic Aspect

ABSTRAKSajak “Song of Myself” karya pujangga Amerika abad ke-19, Walt Whitman,mengupas konsep demokrasi yang menjadi salah satu pondasi prinsip kebebasanberpendapat di Amerika. Makalah ini membahas pembelajaran tentang konsep demokrasiyang dapat diperoleh dari sajak tersebut. Arah pembahasan menjadi spesifik ketikakonsep demokrasi dalam sajak tersebut dikaitkan dengan praktek demokrasi yang terjadidi Amerika sekarang, sejak Amerika berada dalam masa administrasi Presiden DonaldTrump. Dalam pembahasannya, makalah ini mengemukakan argumentasi bahwa dalamprakteknya, prinsip demokrasi yang mengedepankan kebebasan berpendapat bagi setiapindividu, secara dilematis mengantar Amerika pada masa kepresidenan Trump yang dinilaikontroversial. Selain “Song of Myslelf,” makalah ini juga membahas dan membandingkansajak Whitman yang lain, yaitu “For You O Democracy” untuk melihat lebih jauh lagi persepsiWhitman tentang demokrasi. Pembahasan dilakukan dengan melihat aspek pragmatis sajakWhitman dengan merujuk pada Mack (2002). Selain itu, pembahasan juga akan berfokuspada aspek xenofobia dalam karya Whitman dengan merujuk pada salah satu tulisan Price(2004). Simpulan dari pembahasan akan bermuara pada gagasan bahwa konsep utopissemacam demokrasi pun tidak sepenuhnya ideal. Karena, seperti yang terjadi di Amerikasekarang, prinsip demokrasi yang dipraktekkan membuat rakyatnya memasuki era yangbanyak menuai protes. Pada akhirnya, pembelajaran tentang konsep demokrasi ini secaraglobal juga dapat memberi sudut pandang yang lebih kritis mengenai konsep demokrasi.Kata kunci: pembelajaran sastra, Walt Whitman, demokrasi Amerika, Donald Trump,kajian pragmatis, xenofobia.ABSTRACT“Song of Myself,” by America’s nineteenth-century poet, Walt Whitman, describesthe concept of democracy which is one of foundations of the principle of freedom of speechin America. This essay discusses literature learning on the concept of democracy in thepoem. The discussion becomes specific when the concept of democracy in the poem is linkedwith the practice of democracy that occurs currently in America, ever since it is underPresident Trump’s administration. This essay argues that in its practice, the principle ofdemocracy that upholds freedom of speech to every individual, in a dillematic way bringsAmerica to today’s controversial administration by President Trump. Aside From “Songof Myslelf,” this essay also discusses and compares Whitman’s other poem, “For You ODemocracy,” to see further Whitman’s perception on democracy. The discussion will havea look at the pragmatic aspect of Whitman’s poem, by referring to Mack (2002), and it will1 Makalah ini telah dipresentasikan dalam Seminar Nasional HISKI: “Literasi, Sastra, dan Pembelajaran” yangdiselenggarakan di Fakultas Ilmu Budaya Universitas Halu Oleo Kendari, Sulawesi Tenggara, 29-30 April 2017.222 | METAHUMANIORA, Vol. 7, Nomor 2 September 2017: 221—233Lestari Manggongalso focus on the xenophobic aspect in the poem, by referring to Price (2004). This essayconcludes that even a utopian concept such as democracy is not entirely ideal, because thepractice of democracy today leads the American people to enter an era of protests. Thisessay proposes an idea that literature learning of the concept of democracy in the poemalso contributes to giving a more critical view on the concept of democracy.Keywords: literature learning, Walt Whitman, American democracy, Donald Trump,pragmatics studies, xenophobia.

Slavery and Class in the American South

2019 ◽  
Author(s):  
William L. Andrews
Keyword(s):  
Nineteenth Century ◽  
African American ◽  
African Americans ◽  
American South ◽  
Frederick Douglass ◽  
Harriet Jacobs ◽  
Slave Narrative ◽  
William Wells Brown ◽  
The American South ◽  
Work Family

In this study of an entire generation of slave narrators, more than sixty mid-nineteenth-century narratives reveal how work, family, skills, and connections made for social and economic differences among the enslaved of the South. Slavery and Class in the American South explains why social and economic distinctions developed and how they functioned among the enslaved. Andrews also reveals how class awareness shaped the views and values of some of the most celebrated African Americans of the nineteenth century. Slave narrators discerned class-based reasons for violence between “impudent,” “gentleman,” and “lady” slaves and their resentful “mean masters.” Status and class played key roles in the lives and liberation of the most celebrated fugitives from US slavery, such as Frederick Douglass, Harriet Jacobs, William Wells Brown, and William and Ellen Craft. By examining the lives of the most- and least-acclaimed heroes and heroines of the African American slave narrative, Andrews shows how the dividing edge of social class cut two ways, sometimes separating upper and lower strata of slaves to their enslavers’ advantage, but at other times fueling convictions among even the most privileged of the enslaved that they deserved nothing less than complete freedom.

Anna Karenina: The Dialectic of Prophecy

PMLA ◽  
1964 ◽  
Vol 79 (3) ◽  
pp. 266-282
Author(s):  
David H. Stewart
Keyword(s):  
Nineteenth Century ◽  
The Other ◽  
Moby Dick ◽  
Anna Karenina ◽  
Symbolic Value ◽  
Almost All ◽  
The Way

One of the most impressive features of Anna Karenina is the way in which Tolstoy draws the reader's imagination beyond the literal level of the narrative into generalizations that seem mythical in a manner difficult to articulate. With Dostoevsky or Melville, one sees immediately a propensity for exploiting the symbolic value of things. With Tolstoy, things try, as it were, to resist conversion: they strive to maintain their “thingness” as empirical entities. A character in Dostoevsky is usually only half man; the other half is Christ or Satan. Moby Dick is obviously only half whale; the other half is Evil or some principle of Nature. But Anna Karenina is emphatically Anna Karenina. Like almost all of Tolstoy's characters, she has a proficiency in the husbandry of identity; she jealously hoards her own unique reality, so that it becomes difficult to say of her that she is a “type” of nineteenth-century Russian lady or a “symbol” of modern woman or an “archetypical” Eve or Lilith.

Epilogue

2016 ◽  
Author(s):  
John Mac Kilgore
Keyword(s):  
Nineteenth Century ◽  
Civil War ◽  
American Revolution ◽  
Walt Whitman ◽  
Late Nineteenth Century ◽  
Late Nineteenth ◽  
Civil War Era

The epilogue to the book gestures toward the destiny of enthusiasm in the post-Civil War era. In the wake of the trauma of war, the end of slavery, and the birth of a technologically-oriented culture of disenchanted realism, political enthusiasm no longer seemed necessary or viable. At the same time, the final lesson of Walt Whitman circa the centennial of the American Revolution is not so much that political enthusiasm has come to an end but that it must take on new, unheard-of forms specific to its historical era—in Whitman’s view, that meant a struggle for the rights of labor against the corruptions of capitalism (what he called the “tramp and strike question”). As one indication of how literatures of enthusiasm continued to operate in the late nineteenth century, the chapter discusses Edward Bellamy’s utopian novel Looking Backward and Whitman’s contemporaneous interest in anti-capitalism. Enthusiasm is finally what Whitman calls the “latent right of insurrection,” a “quenchless, indispensable fire” in the convulsive context of political tyranny.

scholarly journals Reading and Not-Printing: Obstruction at the Crater Press

2014 ◽  
Vol 2 (1) ◽  
pp. 31-53
Author(s):  
Richard Parker
Keyword(s):  
Nineteenth Century ◽  
Walt Whitman ◽  
Mark Twain ◽  
Emily Dickinson ◽  
Colonial Period ◽  
Benjamin Franklin ◽  
History Of ◽  
American Poets

I will begin this paper with a brief and partial history of American printing, detecting a shared predilection for a noticeably maverick relation to the printed page in the works (printed and otherwise) of Samuel Keimer and Benjamin Franklin during the colonial period, and the works of Walt Whitman, Emily Dickinson and Mark Twain in the nineteenth-century. I term the interrupted, dialectical printing that connects all of these writer/printers ‘not-printing’, and offer some explanation of his term and a description of some of its manifestations. I will then move on to consider how the idea of ‘not-printing’ might be helpful for the consideration of some contemporary British and American poets and printers before concluding with a description of some of the ways that the productive constraints of such a practice have influenced my own work as editor and printer at the Crater Press. DOI: http://dx.doi.org/10.14195/2182-8830_2-1_2

scholarly journals “A Colossal Work of Art”: Antislavery Methods of Visual Protest From 1845 to Today

2018 ◽  
Vol 4 (2) ◽  
pp. 121-142
Author(s):  
Hannah Jeffery ◽  
Hannah-Rose Murray
Keyword(s):  
Nineteenth Century ◽  
Frederick Douglass ◽  
Black Communities ◽  
Work Of Art ◽  
Cultural Form ◽  
Black Protest ◽  
First Time

In 1967, the faces of black antislavery figures were woven into the fabric of the urban US environment to showcase radical black narratives and empower segregated black communities. Murals depicting the faces of Frederick Douglass, Nathaniel Turner and Ida B. Wells lined the streets alongside visualizations of self-emancipated figures slashing chains and unshackling bodies. Although these 1960s murals visualized subversive antislavery narratives in the streets for the first time, the cultural form of black protest murals was not new. In this paper, we trace the visual lineage of antislavery protest from the nineteenth century panorama to the modern antislavery mural.

Nie tylko Frederick Douglass. Fotografia, nowoczesna kultura wizualna i polityka rasowa w dziewiętnastowiecznej Ameryce

2021 ◽  
Author(s):  
Łukasz Zaremba
Keyword(s):  
Nineteenth Century ◽  
North Carolina ◽  
African American ◽  
Visual Culture ◽  
Frederick Douglass ◽  
University Of North Carolina ◽  
Oxford University ◽  
Visual Politics ◽  
The University ◽  
Oxford University Press

Krytyczne omówienie książek "Visualizing Equality. African American Rights and Visual Culture in the Nineteenth Century", autorstwa Astona Gonzaleza, wydanej przez The University of North Carolina Press w 2020 oraz "Exposing Slavery. Photography, Human Bondage, and the Birth of Modern Visual Politics in America", autorstwa Mathew Fox-Amato, wydanej przez Oxford University Press w 2019 roku.

Introduction

2016 ◽  
Author(s):  
John Mac Kilgore
Keyword(s):  
American Literature ◽  
French Revolution ◽  
Walt Whitman ◽  
William Blake ◽  
Affect Theory ◽  
Frederick Douglass ◽  
Edmund Burke ◽  
Political Crisis ◽  
Transnational Studies ◽  
The Third

This chapter provides an overview of the book’s historical, political, and literary material. It is broken into three sections. The first section situates “enthusiasm” in relationship to the modern critique of revolution and leveling democracy, specifically the American and French Revolution, through discussions of Edmund Burke and William Blake. The second section argues for enthusiasm’s importance to transnational studies of American literature, histories of American protest and American religion, affect theory, and philosophies of emancipation (or “the event”). The third section defines what the author calls “literatures of enthusiasm” as a convulsive writing of political crisis encouraging acts of dissent and liberation, using Frederick Douglass and Walt Whitman as examples.

Singing Abolition

2020 ◽  
pp. 117-146
Author(s):  
J. R. Oldfield
Keyword(s):  
Nineteenth Century ◽  
African American ◽  
New Hampshire ◽  
Frederick Douglass ◽  
William Wells Brown ◽  
Public Events ◽  
Protest Songs ◽  
The Uk

This Chapter deals with a hitherto neglected aspect of anti-slavery opinion building, namely the role of anti-slavery songs. Hundreds of these songs – really abolitionist poems set to popular melodies -- were produced during the nineteenth century, on topics as diverse as the slave experience and contemporary public events. In essence, these were protest songs, designed to inform and inspire. The Chapter also looks at the emergence of anti-slavery performers, chief among them the Hutchinson Family Singers from New Hampshire, who electrified audiences during the 1840s with their performances. In 1846, the Hutchinsons visited Britain where they met with a different reception, their peculiar brand of musical advocacy alienating some section of the British public. The chapter analyses the reasons for this ‘failure’, while concluding with a discussion of spirituals (slave songs) as performed by African American visitors to the UK, among them Frederick Douglass and William Wells Brown.

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