The Melancholy of Faith

Author(s):  
Jermaine Singleton

This chapter addresses the question of how unresolved racial grief works through the demands of capital, racialization, and sacred ritual practice to enact a gender hierarchy. It thinks through James Baldwin's first novel, Go Tell It on the Mountain (1953), to explore how testifying serves as a technology of black patriarchy—a ritual that arises out of the need for racial and economic redemption yet unfolds within and propagates gendered power relations. It examines how the content and structure of Baldwin's Bildungsroman, set in Harlem's Pentecostal community during the Great Depression, allegorizes the conversion of John Grimes, who embodies the “weak, feminine flesh” of his matrilineal line that is sacrificed to secure his “manchild” status of salvation. The chapter is punctuated by a section that situates Baldwin's novel as a form of sexual testifying on the part of Baldwin himself. In doing so, it places Baldwin's novel in conversation with its dramatic sequel, The Amen Corner (1954), to explore how both texts anticipate and extend queer theoretical conversations about the social construction of black, gay subject-formations.

Author(s):  
David R. Mayhew

This chapter navigates the 1930s and groups two impulses into it: responding to the Great Depression and building a welfare state equipped with instruments of social provision. Franklin Delano Roosevelt and the Democrats blended these two impulses when they executed their New Deal in the 1930s. However, on current inspection, the blend is confusing and sometimes contradictory, and there is a difference in time span. Responding to the Great Depression was clearly a 1930s drive; whereas the Social Security Act of 1935 still enjoys its high place at the top of the American welfare state. The chapter shows how the timeline on building U.S. social provision runs a lot longer before and afterward.


Author(s):  
Josh Nelson ◽  
Adie Nelson

Abstract This reflection on the social construction of authenticity analogizes the quest for artistic authenticity to snark hunting. To illustrate the instability of this term, it employs various Canadian examples, including the “Michelangelo” terracotta sculptures donated to the Museum of Vancouver, the “Igloo tag,” the importation of a sculpture by Edward Chukwuweike Madukaego, and the work of Bill Reid. It posits that proclamations of authenticity and fraudulence are ultimately utterances denoting and invoking power relations. It also reveals, through the use of specific examples, how negotiations around artistic authenticity in settler societies can replicate and re-entrench colonialist power.


2018 ◽  
Vol 9 (3) ◽  
pp. 859-864
Author(s):  
Dr. Angela Ngozi Dick

Although the social construction of the human hair varies from culture to culture, the symbolic function of hair varies from person to person. In Adichie’s  Americanah, the characters are primarily defined by their hair before the construction of their race, career and  personality. The human hair becomes the premise for brotherhood and sisterhood in. Many episodes take place in the salon, thereafter a person’s hair is qualified as either good or bad. The theoretical framework for this paper is New Historicism which interrogates social life and power relations among people in the society. In this work we conclude that Adichie tells the story of human hair not for its sake but to portray the problem of immigrants, religious fanaticism, disruption of academic calendar and the frustration therein, loveless marriage, the environment and other human conditions. Finally, the hair shows that every person is a complete human being first and foremost


2013 ◽  
Vol 5 (2) ◽  
pp. 17-32
Author(s):  
Dmitriy Vladislavovich Zakharov

The article overviews the American cinema of the 1930 in terms of the “cyclic conception” stating that the life of American society is subject to a distinctive algorhithm of public mood: “social restlessness” alternating with “private interest”. The author surveys gangster film, one of the dominating genres of the Depression cinema as exemplified by “The Pubic Enemy (1931, dir. William A. Wellman). The article also traces the links of the “social restlessness” films of the 1930s with the previous and subsequent phases stressing the problem of dividing each phase into stages: formation, prime and decline.


Author(s):  
Robert Wuthnow

This book examines the resilience shown by the American Middle West—Iowa, Kansas, Nebraska, Minnesota, Missouri, North and South Dakota, Arkansas, and Oklahoma—despite going through profound social upheavals during the half century that began in the 1950s. It shows that the Middle West has undergone a strong, positive transformation since the 1950s—a time when many families were still recovering from the Great Depression. The transformation is surprising because it took place in the nation's heartland. The region's economy fared surprisingly well; agribusiness was flourishing; elementary and secondary education was among the best in the nation; the region was known for innovative medical research and biotechnology. The chapter suggests that one precondition for the social change that has happened in the Middle West is the fact that the region largely comprised rich land with vast potential for crops and livestock as well as mineral wealth.


Prospects ◽  
1985 ◽  
Vol 10 ◽  
pp. 169-195 ◽  
Author(s):  
Lawrence W. Levine

In her recollections of the 1930s, Louise Tanner helped to create an image that has stayed with us despite a number of studies that should have dissolved it by now. Thirties movies were, she insisted,a flop as a source of Communist propaganda. Some studios – notably Warner brothers – tried to bring Father to grips with social reality. But most of the cinemoguls agreed with Louis B. Mayer that Dad got all the social significance he needed at home. The script writers of Hollywood might take the Spanish Civil War to heart but they were more concerned with a public that preferred Carole Lombard doing secretarial work in a penthouse with a white telephone. Father sitting there in the dark forgot his own plight as he watched the gods and goddesses of the screen sweeping down staircases into dining rooms with a footman behind every chair. Depression movies portrayed an America devoid of economic conflict.


2021 ◽  
Vol 917 (1) ◽  
pp. 012016
Author(s):  
B D Prasetyo ◽  
D Ekawati ◽  
Handoyo ◽  
D Djaenudin ◽  
Indartik ◽  
...  

Abstract Gender discourse in Indonesia is currently developing very rapidly. On one hand, gender activists have focused on gender mainstreaming. On the other hand, the socio-cultural reality in Indonesia persists with the old traditional construction of power relations between men and women. Feminists fight for justice and inclusiveness for women. However, their struggle must be confronted with the fact that the prevailing socio-cultural norms still tend to be male-dominant. This paper will reveal how the social reality of power relations in the realm of gender is constructed in rural areas in Indonesia. The subjects studied are families at the clan level who are managing sustainable bamboo forestry in Ngadha Regency, East Nusa Tenggara, Indonesia. The research was conducted in 2019-2021. The methods used are participatory rural appraisal (PRA), in-depth interviews, and observation as participants. Time allocation is used as the object of this study to create gender mapping. The analysis is carried out using a social construction theory. This study concluded that the clan of Neguwulacan adopt the HBL system. This is reflected in the emergence of local initiatives to manage finances, the workforce, groups, as well as build and implement them at the clan level. The gender relations that exist in SBF practice at the clan of Neguwula are relative. First, in terms of family lines, women obtain benefits because could hold matrilineal law. Political decisions remain in the hands of women. Second, practically speaking, women work twice as much in domestic and commercial work. Third, in some cases, deliberation is put forward for a fair division of labor. At this point, inclusiveness emerges as a reality that colors gender relations.


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