Showing papers in "American Literature in 2006"

What The Bluest Eye Knows about Them: Culture, Race, Identity

Abstract: Forays into family history are Toni Morrison’s standard strategy for establishing character motivation in The Bluest Eye. But midway through the narrative, her strategy changes. Just before Junior sadistically hurls his mother’s cat ‘‘right in [Pecola’s] face,’’ Morrison provides a rather startling description of a group of people to which Junior’s mother, Geraldine, belongs, and to which, therefore, Junior’s actions can be traced. Geraldine’s genealogy is typological, not familial. She is one of a type of people who are losing a cultural identity that is rightfully theirs because of their racial ancestry. ‘‘They,’’ as Morrison terms the type, ‘‘come from Mobile,’’ or perhaps from ‘‘Aiken. From Newport News. From Marietta. From Meridian’’ (81). What distinguishes ‘‘[t]hese particular brown girls’’ is that they are learning ‘‘how to get rid of the funkiness. The dreadful funkiness of passion, the funkiness of nature, the funkiness of the wide range of human emotions’’ (82, 83). Setting up a fundamental ambivalence, The Bluest Eye on the one hand locates funk as a species-wide quality; we all have, or once had, funk. On the other hand, this quality is understood to have been already lost by white people in a process that was either racial or cultural (perhaps this loss is what makes someone white); accordingly, funk is the heritage of the ‘‘particular brown girls,’’ who are threatened with its loss. The funk is embodied and racialized through the various phenotypic differences that mark the social construction of race and that threaten to overwhelm the whitening process: ‘‘They hold their behind in for fear of a sway too free; when they wear lipstick, they never cover the entire mouth for fear of lips too thick, and they worry, worry, worry about the edges

Ventriloquizing Nation: Voice, Identity, and Radical Democracy in Charles Brockden Brown's Wieland

Abstract: Compressed within (and between) the two epigraphs that begin my essay is a theory of subjectivity.1 According to Lacan, the subject finds (or identifies) itself in language only to lose itself at the same time. Refusing any transparency to speech, Lacan highlights the loss inherent in any act of (self-)representation. The subject’s speech is always a ‘‘gift of language’’ that comes fromwithout and thus remains irretrievably other. In the search for a stable identity, the subject is captivated by ‘‘corporeal images’’ that might serve to mirror the subject’s elusive wholeness and thus confirm its identity. One word for Lacan’s ‘‘subtle body’’ of language is voice. In subjectformation, voice confers and confirms identity and, at the same time, dissolves it. There is an irreducible tension in the effort to subjectify voice—to make it both the source and expression of the subject—because voice, in Lacan’s reading, remains on the side of the object. Extrapolating from Lacan’s formulations, a subject’s speech could thus be figured as an act of ventriloquism, appearing to emanate from the subject but articulated from without. And if that voice acts to confer and confirm a certain identity, it is an identity that is forever split by the foreign body—the objectal nature—of the voice.

Narrative Prosthesis: Disability and the Dependencies of Discourse

Abstract: First, to illuminate the views and experiences of brazilian female paralympians that helped shape their narrative identities, and second, to develop a better understanding of the reasons behind the gender inequality in paralympic sports. According to the international paralympic committee, 1671 female athletes competed in the rio 2016. Disability studies also investigates images and descriptions of disability, prejudice against people with disabilities (ableism), and the ways narrative relates to disability (see “narrative prosthesis” below). It’s important to understand disability as part of one’s ... Hunting or trolling disability permit authorizations application. Applicant is unable to place dominant hand or prosthesis in a position that is level with shoulders at a minimum distance of 11 inches from body. A prosthesis is a wearable device, such as an artificial limb, that takes the place of an absent body part. Nov 04, 2021 · osteoarthritis (oa) is the most prevalent degenerative joint disease and the main cause of pain and disability in elderly people. Oa currently represents a significant social health problem, since it affects 250 million individuals worldwide, mainly adults aged over 65. Although oa is a multifactorial disease, depending on both genetic and environmental factors, it is reported that joint. Disability is defined differently for each person, and multiple intersections arise for particular individuals. Incidence of disability is reported to be greater among several minority communities across the globe, according to a systematic analysis of the global burden of disease study. Sep 23, 2019 · critical disability theory refers to a diverse, interdisciplinary set of theoretical approaches. The task of critical disability theory is to analyze disability as a cultural, historical, relative, social, and political phenomenon. Citing sharon snyder and david mitchell’s concept of narrative prosthesis, whereby fiction writers use. How philosophers, social scientists, policy makers, and lay people understand that relationship matters for the theories of welfare and flourishing we construct, the judgments about our lives we make on a regular basis, and the social and health policies we adopt. Disability in the arts is distinguished from disability art in that. Nov 20, 2021 · * ''film/eltopo'': As a result of their inbreeding, some of the cave people are missing limbs.

Matthiessen's Public Privates: Homosexual Expression and the Aesthetics of Sexual Inversion

Abstract: In 1949, less than a year before his suicide, the prolific and now renowned literary critic F. O. Matthiessen reviewed A Bibliography of the Published Writings of Sarah Orne Jewett. His review praises the bibliography’s handsome printing, flatters the erudition and painstaking scholarship of its compilers, and notes with no small degree of joy the increased critical and biographical attention paid to Jewett, who twenty years earlier had been the unlikely subject of Matthiessen’s first book. The kernel of his review traces Jewett’s ‘‘increasing appeal to readers everywhere’’ and singles out in particular the popular film star Barry Fitzgerald, ‘‘who spoke lovingly of her ‘good, slow-natured prose,’ ’’ as if to celebrate Jewett’s popular circulation and continued relevance, even in an age of film and mechanical reproduction. Matthiessen’s admiration of this bibliography and the pleasure he expresses at Jewett’s increasing readership bring into relief a still germinating field of inquiry: What are the traces, consequences, and effects of Matthiessen’s homosexuality on and for his scholarship? How might those effects in turn have wound their way into a genealogy of modern literary criticism and American studies? Thus far,