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Summary on the Pathology of “White Privilege”
An essay on postmodernism
Summary on the Pathology of “White Privilege”
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Hemingway
[1] Postmodernist discourses are often exclusionary even when, having been accused of lacking concrete relevance, they call attention to and appropriate the experience of "difference" and "otherness" in order to provide themselves with oppositional political meaning, legitimacy, and immediacy. Very few African-American intellectuals have talked or written about postmodernism. Recently at a dinner party, I talked about trying to grapple with the significance of postmodernism for contemporary black experience. It was one of those social gatherings where only one other black person was present. The setting quickly became a field of contestation. I was told by the other black person that I was wasting my time, that "this stuff does not relate in any way to what's happening with black people." Speaking in the presence of a group of white onlookers, staring at us as though this encounter was staged for their benefit, we engaged in a passionate discussion about black experience. Apparently, no one sympathized with my insistence that racism is perpetuated when blackness is associated solely with concrete gut level experience conceived either as opposing or having no connection to abstract thinking and the production of critical theory. The idea that there is no meaningful connection between black experience and critical thinking about aesthetics or culture must be continually interrogated.
[2] My defense of postmodernism and its relevance to black folks sounded good but I worried that I lacked conviction, largely because I approach the subject cautiously and with suspicion. Disturbed not so much by the "sense" of postmodernism but by the conventional language used when it is written or talked about and by those who speak it, I find myself on the outside of the discourse looking in. As a discursive practice it is dominated primarily by the voices of white male intellectuals and/or academic elites who speak to and about one another with coded familiarity. Reading and studying their writing to understand postmodernism in its multiple manifestations, I appreciate it but feel little inclination to ally myself with the academic hierarchy and exclusivity pervasive in the movement today.
[3] Critical of most writing on postmodernism, I perhaps am more conscious of the way in which the focus on "otherness and difference" that is often alluded to in these works seems to have little concrete impact as an analysis or standpoint that might change the nature and direction of postmodernist theory. Since much of this theory has
In the article, “A Letter My Son,” Ta-Nehisi Coates utilizes both ethical and pathetic appeal to address his audience in a personable manner. The purpose of this article is to enlighten the audience, and in particular his son, on what it looks like, feels like, and means to be encompassed in his black body through a series of personal anecdotes and self-reflection on what it means to be black. In comparison, Coates goes a step further and analyzes how a black body moves and is perceived in a world that is centered on whiteness. This is established in the first half of the text when the author states that,“white America’s progress, or rather the progress of those Americans who believe that they are white, was built on looting and violence,”
Postmodernism movement started in the 1960’s, carrying on until present. James Morley defined the postmodernism movement as “a rejection of the sovereign autonomous individual with an emphasis upon anarchic collective anonymous experience.” In other words, postmodernism rejects what has been established and makes emphasis on combined revolutionary experiences. Postmodernism can be said it is the "derivate" of modernism; it follows most of the same ideas than modernism but resist the very idea of boundaries. According to our lecture notes “Dominant culture uses perception against others to maintain authority.”
In his essay, “On Being Black and Middle Class” (1988), writer and middle-class black American, Shelby Steele adopts a concerned tone in order to argue that because of the social conflicts that arise pertaining to black heritage and middle class wealth, individuals that fit under both of these statuses are ostracized. Steele proposes that the solution to this ostracization is for people to individualize themselves, and to ‘“move beyond the victim-focused black identity” (611). Steele supports his assertion by using evidence from his own life and incorporating social patterns to his text. To reach his intended audience of middle-class, black people, Steele’s utilizes casual yet, imperative diction.
“On Being Black…” is an autobiographical essay discussing the black working class and how in order for black women to “have-it-all” they must have a career, home, and husband. But when Bonner refers to the younger generations, they find flaws with the working class’ expectations on becoming middle to upper class. The Young Black generation challenges the ideology of what it means to “have-it-all,” while dismantling institutional racism to create their own ideological racial uplift. In both works, she questions racial categorization and the divisions among class amongst African Americans, a reoccurring theme for her later
Since 1945, in what is defined by literary scholars as the Contemporary Period, it appears that the "refracted public image"(xx) whites hold of blacks continues to necessitate ...
It must be noted that for the purpose of avoiding redundancy, the author has chosen to use the terms African-American and black synonymously to reference the culture, which...
There is no doubt that black culture is full of eloquent and intellectual writers. During the Reconstruction and Harlem Renaissance, many would arrive at the forefront of modern literature that would begin to unravel stereotypes and reframe the black experience of being human in every genre. But none was as sophisticated and truly committed to using every platform of writing available to him than W.E.B. Du Bois. He made it a mission in his writings to attend to what it was to be black: to be black in black skin; to be a black intellectualist versus a non-intellectualist black, to be a black living in economic, social and political deficiency and discriminatory neglect; and to be black, and viewed essentially
The above-mentioned essays are: Nihilism in Black America, The Pitfalls of Racial Reasoning, The Crisis of Black Leadership, Demystifying the Black Conservatism, Beyond Affirmative Action: Equality and Identity, On Black-Jewish Relations, Black Sexuality: The Taboo Subject, Malcolm X and Black Rage. My analysis of these essays, and therefore the book itself, revealed that the racism of the past, through the 1990s (during the writing of the book) still persists up until today. This book is considered a classic because of its insightfulness on key aspects of race in general, and blacks in particular.... ... middle of paper ... ...
The aspect of African-American Studies is key to the lives of African-Americans and those involved with the welfare of the race. African-American Studies is the systematic and critical study of the multidimensional aspects of Black thought and practice in their current and historical unfolding (Karenga, 21). African-American Studies exposes students to the experiences of African-American people and others of African descent. It allows the promotion and sharing of the African-American culture. However, the concept of African-American Studies, like many other studies that focus on a specific group, gender, and/or creed, poses problems. Therefore, African-American Studies must overcome the obstacles in order to improve the state of being for African-Americans.
Ever since Christopher Columbus arrived in America in 1492, white people have constantly oppressed and discriminated against minority races. In my original essay, I addressed how leaders of the Black Arts Movement believed that the establishment of a separate Black culture provided the best opportunity for change to occur. During the time period of the Black Arts Movement, many thought that two separate spirits divided American society—a Black spirit and a White spirit. In the minds of African-Americans, the White spirit unfairly dominated and controlled America, leaving the Black spirit with little impact or voice in society. According to Larry Neal, “Western aesthetic has run its course: it is impossible to construct anything meaningful within
According to West, “the attitudes of white scholars in the academy are quite different than those in the past” (West pg. 303). In the dilemma of the black intellectual Afro-American intellectual often known better as “black’s” have a stressful time in being acceptance in whites universities and find themselves in one of the black educational institutions for potential black intellectuals. Many black’s begin their intellectual career with hopes of self worth and self confidence in a way that is in alignment with certain values. Under the effects of their own emotional pain however, some black’s become removed from those values, removed from the purpose behind their intellectual. Black’s can feel like a ship in stormy seas, floundering with nothing solid to anchor to. When black’s make demands, use criticism or labeling to be taken seriously as potential scholars and intellectuals in our universities and colleges to vulgar perceptions fueled by
The word "war" is always horrible to man especially with who has been exposed to. It is destruction, death, and horrible suffers that has been with all man's life. In the short story "In Another Country", Ernest Hemingway shows us the physical and emotional tolls of the war as well as its long-term consequences on man's life. He also portrays the damaging effects that the war has on the lives of the Italians and even of the Americans.
Thomas, Deborah A. "Modern Blackness: "What We Are and What We Hope to Be"." Small
“Modernism should properly be seen as a culture—a constellation of related ideas, beliefs, values, and modes of perception—that came into existence during the mid to late nineteenth century, and that has had a powerful influence on art and thought on both sides of the Atlantic since roughly 1900” (Singal 7). There has been a breakaway from old traditions of thought and value towards a movement in a belief of improvement, freedom, and equality. Modernism is not determined on creating a future, but rather moving forward in society. It does not mean an individual holding onto their heritage defines them as a person; instead it is a part of who they are and culture is what they have become. Therefore, all individuals in today’s society are what make up America. Modernism has allowed individuals to work together to bring forth a stronger, improved society of progression representing development, self-determination, and equal opportunity. In Langston Hughes’s poems “The Negro Speaks of Rivers” and “Theme for English B” are examples that embraced awareness towards modernism in American society. “The Negro Speaks of Rivers” represents the heritage of African Americans and “Theme for English B” represents the culture of today. Hence, Hughes’s poems signify how the African American ancestors allowed for their heritage to grow over time characterizing who people are leading towards modernistic culture.
In this narrative essay, Brent Staples provides a personal account of his experiences as a black man in modern society. “Black Men and Public Space” acts as a journey for the readers to follow as Staples discovers the many societal biases against him, simply because of his skin color. The essay begins when Staples was twenty-two years old, walking the streets of Chicago late in the evening, and a woman responds to his presence with fear. Being a larger black man, he learned that he would be stereotyped by others around him as a “mugger, rapist, or worse” (135).