scholarly journals Identity, difference and healing: Reading Beloved within the context of John Caputo’s theory of hermeneutics

Literator ◽  
2005 ◽  
Vol 26 (1) ◽  
pp. 23-48
Author(s):  
B. Du Plooy ◽  
P. Ryan

John Caputo’s interest in the human struggle towards healing/wholing is obvious in his contribution on the work of Foucault: “On not knowing who we are: Madness, hermeneutics, and the night of truth in Foucault” (Caputo, 1993:233-262). While basing his reading of madness as a form of human suffering on the work of Foucault, Caputo moves beyond Foucaultian theory – “in a direction that, while it was not taken by Foucault, is perhaps suggested by him” (Caputo, 1993:234) – by envisioning a hermeneutics of response and redress and a therapeutics of “healing gestures” (Caputo, 1993:234). In this article we investigate the applicability of Caputo’s theory of progressive Foucaultian hermeneutics to Toni Morrison’s “Beloved”, a work of historical fiction. (Morrison is an African-American author and Nobel laureate.) We do this investigation by reading the novel’s three major characters (Sethe, Beloved and Denver) as symbolic representations of Caputo’s three kinds of hermeneutics, of which the third, represented by the character Denver, is constitutive of a therapeutics of healing.

2010 ◽  
Vol 4 (1-2) ◽  
pp. 213-227
Author(s):  
Rosemary Hicks

A review essay devoted to Islam and the Blackamerican: Looking Toward the Third Resurrection by Sherman A. Jackson. Oxford University Press, 2005. 256 pages. Hb. $29.95/£22.50, ISBN-13: 9780195180817.


2016 ◽  
Vol 34 (1) ◽  
pp. 1-44
Author(s):  
Jeffrey S. Adler

On May 11, 1938, two New Orleans policemen entered the Astoria Restaurant, marched to the kitchen, and approached Loyd D. T. Washington, a 41-year-old African American cook. They informed Washington that they would be taking him to the First Precinct station for questioning, although they assured the cook that he need not change his clothes and “should be right back” to the “Negro restaurant,” where he had worked for 3 years. Immediately after arriving at the station house, police officers “surrounded” Washington, showed him a photograph of a man, and announced that he had killed a white man in Yazoo City, Mississippi, 20 years earlier. When Washington insisted that he did not know the man in the photograph, that he had never been to (or even heard of) Yazoo City, and that he had been in the army at the time of the murder, the law enforcers confined him in a cell, although they had no warrant for his arrest and did not charge him with any crime. The following day, a detective brought him to the “show-up room” in the precinct house, where he continued the interrogation and, according to Washington, “tried to make me sign papers stating that I had killed a white man” in Mississippi. As every African American New Orleanian knew, the show-up (or line-up) room was the setting where detectives tortured suspects and extracted confessions. “You know you killed him, Nigger,” the detective roared. Washington, however, refused to confess, and the detective began punching him in the face, knocking out five of his teeth. After Washington crumbled to the floor, the detective repeatedly kicked him and broke one of his ribs. The beating continued for an hour, until other policemen restrained the detective, saying “give him a chance to confess and if he doesn't you may start again.” But Washington did not confess, and the violent interrogation began anew. A short time later, another police officer interrupted the detective, telling him “do not kill this man in here, after all he is wanted in Yazoo City.” Bloodied and writhing in pain, Washington asked to contact his family, but the request was ignored. Because he had not been formally charged with a crime, New Orleans law enforcers believed that Washington had no constitutional protection again self-incrimination or coercive interrogation and no right to an arraignment or bail, and they had no obligation to contact his relatives or to provide medical care for him.


2008 ◽  
Vol 2 (1) ◽  
pp. 97-111
Author(s):  
Rosemary R. Hicks

Essay reviewing Islam and the Blackamerican: Looking Toward the Third Resurrection by Sherman A. Jackson. New York: Oxford University Press, 2005. 256 pages. $29.95 (hardcover)


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.


2020 ◽  
Vol 13 (3) ◽  
pp. 337-344 ◽  
Author(s):  
Valentina Rapetti

Rokia Traoré is a Malian singer, guitarist and composer, known worldwide for her artistic syncretism and political activism. Her distinctive style blends elements of traditional Malian music with blues, folk and rock to address contemporary geopolitical and humanitarian issues. She is the artistic director of Fondation Passerelle, a non-profit organization she founded in 2006 to support young African singers and musicians by offering them high-quality professional training and work opportunities in the music industry. In this interview, she discusses her experience as songwriter and performer in Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American director Peter Sellars, with texts by African American Nobel Laureate Toni Morrison, sharing some intimate memories and elaborating freely on the role of performers and the importance of focused listening in live stage productions.


2012 ◽  
Vol 85 (1) ◽  
pp. 137-144
Author(s):  
Amber D. Moulton

In 1869, African American author Frank J. Webb returned to Washington, D.C., to become a “Carpetbagger” in the Reconstruction South. In a letter to black Bostonian Robert Morris, Webb illustrated the richness of antebellum African American reform networks and portrayed one man’s boundless optimism for race relations in postbellum America.


2018 ◽  
Vol 30 (2) ◽  
pp. 155-165
Author(s):  
Magdalena Łapińska ◽  

The article entitled “(Im)Perfect Memories in Jacqueline Woodson’s Another Brooklyn” explores the fallibility of memory as presented in Another Brooklyn, a novel by an African American author Jacqueline Woodson. The text presents the idea that personal memories change due to the passage of time along with the new experiences of an individual, and relates it to the studied novel. Special attention is given to different dimensions of grief and loss presented in the analyzed story. The mourning after the loss of loved ones is explored through the use of concepts such as Elizabeth Kübler-Ross’ five stages of grief, the selective amnesia and the idea of continuing bonds. The process of growing up is also briefly considered as a mourning process over losing the innocence and safety provided by childhood. Further, the article presents the hardships of growing up without a mother in an unsafe neighbourhood, the loss of vital friendships and the search of a better life - all introduced through the recollections which occurred after a significant passage of time and the accumulation of experiences which lend themselves to the change of the mindset of the main character.


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.


Sign in / Sign up

Export Citation Format

Share Document