black characters
Recently Published Documents


TOTAL DOCUMENTS

77
(FIVE YEARS 30)

H-INDEX

5
(FIVE YEARS 0)

2021 ◽  
Vol 2 (2) ◽  
Author(s):  
Lindiwe Maqutu ◽  
Adrian Bellengere

A racial incident revolving around the teaching of To Kill a Mockingbird in a South African school has prompted this examination of how set works are implicated in the dissemination race-related beliefs. The way the book is taught, it is argued, cements the continuation of the alienation of blackness by affirming ubiquitous white normativity. It perpetuates the notion that the fault lies in an ‘existential deviation’ that inheres in black people. This examination highlights how, through the purposive propagation of white normality, the book exhibits anti-black sentiments. The sympathetic white psyche that subsists simultaneously with the continuing enjoyment of racial favouritism, is appraised. The stance of the book is confronted by noting the contrived largely absent voices of black people in the narrative. This book positions the black characters as props, for the absolution of the white protagonists (and by proxy sympathetic white people) during circumstances of the unremitting and deadly racial oppression.


2021 ◽  
Author(s):  
Hind Naji Hussein Ithawi

The present paper examines the divergent attitudes of black characters toward racism in Charles W. Chesnutt’s The Marrow of Traditions (1901). Chesnutt wrote his novel to reflect his opinions on how African Americans should act to improve their situation. To situate the study within the historical and cultural context of Marrow, Black intellectuals’ views, namely Washington and Du Bois, about the complicated problem of ‘color’ were explored. To analyze the contrasting views and actions of Chesnutt’s black characters, the paper uses the lens of postcolonial theory. Although Marrow is not set within a colonial context, postcolonial theoretical frameworks can be used as models to re-read this novel because they deal with intersections of races, classes, cultures, and the oppressor/ oppressed relationship. The paper concludes that Chesnutt has entertained the possibility of a hybrid or third race— as referred to within postcolonial framework—that may succeed where both races (pure white and black) have failed.


Author(s):  
Hind Naji Hussein Ithawi

The present paper examines the divergent attitudes of black characters toward racism in Charles W. Chesnutt’s The Marrow of Traditions (1901). Chesnutt wrote his novel to reflect his opinions on how African Americans should act to improve their situation. To situate the study within the historical and cultural context of Marrow, Black intellectuals’ views, namely Washington and Du Bois, about the complicated problem of ‘color’ were explored. To analyze the contrasting views and actions of Chesnutt’s black characters, the paper uses the lens of postcolonial theory. Although Marrow is not set within a colonial context, postcolonial theoretical frameworks can be used as models to re-read this novel because they deal with intersections of races, classes, cultures, and the oppressor/ oppressed relationship. The paper concludes that Chesnutt has entertained the possibility of a hybrid or third race— as referred to within postcolonial framework—that may succeed where both races (pure white and black) have failed.


2021 ◽  
Vol 65 (4) ◽  
pp. 899-916
Author(s):  
Marguerite La Caze ◽  

Euzhan Palcy’s film A Dry White Season, set in apartheid South Africa, portrays a resistance not intended to lead to victimhood, yet leads to the death of the Afrikaans protagonist, Benjamin Du Toit. The narrative follows Ben as they are educated about Black South Africans’ suffering under apartheid, their growing activism and simultaneous increasing victimization beside that of their Black friends. I first examine how early political critics of the film thought it stressed the victimization of the white character at the expense of that of the Black characters. Next, I interpret the film by considering how Palcy’s aims, the influence of their compatriot Aimé Césaire’s anticolonial views, and the details of the film’s structure, illuminate the film’s philosophical insights into victimization and resistance. I show how the film’s representation of Ben’s secondary victimization and witnessing highlights the victimization of apartheid.


Author(s):  
Adelina Mbinjama-Gamatham

This chapter explores the relevance of Immanuel Kant's categorical imperative to critique the unintended, subliminal evil representations in Shonda Rhimes's work. Kant's moral theory is used to re-think evil in the way that Rhimes portrays Annalise Keating (Viola Davis) in How to Get Away with Murder (2014-) as an influential defense attorney and law professor who goes to extreme lengths to get what she wants, even if her behavior is considered bad or evil. This chapter argues that Rhimes's work challenges the systemic racism and stereotypical portrayals of Black women in television, as she not only focuses on the bad or evil doings of her Black characters but also on what makes them powerful, good and emblematic of #BlackGirlMagic.


2020 ◽  
Vol 12 (2-3) ◽  
pp. 213-228
Author(s):  
Addamms Mututa

Narratives of traumatic citizenship not only raise questions about the past, but also they give voice to contemporary stories about this past. In post-apartheid South Africa, these questions, markers of apartheid temporality, are embodied in, among other sites, the representation of battered Black bodies in cinema. This article critiques the characterization of Blacks as narrative spaces to illustrate the temporality of distress and trauma from apartheid to post-apartheid Johannesburg in Gavin Hood’s Tsotsi. It argues that the film posits Black characters as latent archives of intergenerational historical narratives that probe the apartheid past and speculate on the post-apartheid future in the city of Johannesburg. Consequently, the juxtaposition of embodied narrative archives and apartheid temporality, the article posits, is a crucial model in the theorization of battered Black bodies’ contiguous nostalgia.


Text Matters ◽  
2020 ◽  
pp. 93-117
Author(s):  
Debbie Olson

The racial framework of Martin McDonagh’s 2017 film Three Billboards Outside Ebbing, Missouri rests at the intersection of three persistent cultural myths—the Frontier Myth, the hero cowboy myth and the myth of white supremacy. There has been much criticism of the portrayal of black characters in the film, and particularly the lack of significant black characters in a film that sports a solid undercurrent of racial politics. While the black characters in the film occupy a small amount of screen time, this paper argues that the film’s treatment of black characters, including their absence, puts on display the cultural dysfunction of racial politics in the US, especially in rural America, and particularly in Missouri. The film’s subversion of the cowboy hero instead reveals the disturbing reality of the Frontier Myth and its dependence on racism and white supremacy for validation. In its unmasking of myth, Three Billboards challenges the illusion of a glorious Western past that never existed and at the same time supports racial justice and the Black Lives Matter movement.


2020 ◽  
Vol 11 (2) ◽  
pp. 137-148
Author(s):  
Fakhrunnisa

Grotesque character commonly refers to Southern Black or Black character who represents “misfit” and “freak” and bad things. Grotesque character is often used in Flannery O’Connor’s short stories to criticize the issues in society. In the short story “The Geranium,” she criticizes the Black racial issue in White society at that time. This paper aims at showing how a White character, Old Dudley, who is considered as having high status, is placed as a grotesque character in the form of a “freak” person with dislocations and hallucination. This paper also intends to show how O’Connor represents Southern, and Northern Black characters legitimated as grotesque or evil in White society indeed have good sides. This study finds out that grotesque is used to address a criticism toward White supremacy on Black subordination and that grotesque is indeed a bad part of the dual quality (good and bad) of all human characters in the short story.


Sign in / Sign up

Export Citation Format

Share Document