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1
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Ignite some agency: how teaching assistants engage whiteness at a South African university

100%
Conradie M. S.
Society Register
|
2022
|
vol. 6
|
issue 1
19-40
EN
Decolonial scholarship, although multifaceted, includes questioning how abstract theorisations could concretely reform department-specific pedagogies. This study builds on the proposition that decolonisation is served, at least partially, by department-specific pedagogies that oppose whiteness. It is grounded in a Department of English at a historically-white South African university. Using critical whiteness studies (CWS), I launch a discourse analysis of the experiential narratives expressed by Teaching Assistants during individual interviews. CWS equips me to examine how these contractually-employed educators manage their intersectional subjectivities as they facilitate small-group discussions among undergraduates in support of professors’ official lectures. I focus on their reactions to the way students explore experiences of subordination.
2
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Oppressive Faces of Whiteness in Walter Mosley’s Devil in a Blue Dress

88%
Szmańko K.
Text Matters: A Journal of Literature, Theory and Culture
|
2018
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issue 8
258-277
EN
Walter Mosley’s Devil in a Blue Dress contributes significantly to the literary debate on the definition of whiteness. The socio-historical construction of whiteness emerging from the novel is amplified by white imagery dovetailing with the claims made about white people directly. For the African American first person narrator, Easy Rawlins, living in post-World War II Los Angeles, whiteness mostly spells terror. The oppressive faces of whiteness consist in the following trajectories: property relations, economic exploitation, labour relations, the legal system, different miens of oppressive white masculinity denigrating blackness, spatial dynamics of post-World War II Los Angeles and the white apparatus of power that the narrator needs to confront throughout the novel. White imagery carried to the extreme magnifies the terrorizing aspect of whiteness in the narrative. Like many authors of colour, Mosley associates whiteness with death. Whiteness inundates Easy Rawlins from all sides, entailing insincerity, dishonesty, interestedness and hypocrisy.
3
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What’s Wrong with the (White) Female Nude?

63%
Lavallee Z.
Estetyka i Krytyka
|
2016
|
issue 2(41)
77-98
EN
In “What’s Wrong with the (Female) Nude?” A. W. Eaton argues that the female nude in Western art promotes sexually objectifying, heteronormative erotic taste, and thereby has insidious effects on gender equality. In this response, I reject the claim that sexual objectification is a phenomenon that can be generalized across the experiences of all women. In particular, I argue that Eaton’s thesis is based on the experiences of women who are white, and does not pay adequate attention to the lives of nonwhite women. This act of exclusion undermines the generality of Eaton’s thesis, and exposes a more general bias in discussions of female representations in art. Different kinds of bodies have been subjected to different kinds of objectifying construal, and the ethics of nudity in art must be extended to take such variation into account.
4

The phantom in American Arcadia: Rethinking race in Philip Roth’s The Human Stain

51%
Antoszek P.
Roczniki Humanistyczne
|
2016
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vol. 64
|
issue 11: Anglica
149-158
EN
The article explores the problem of race and racial ambiguity in Philip Roth’s The Human Stain (2000). Referring to Toni Morrison’s Playing in the Dark: Whiteness and the Literary Imagination and her assumptions concerning “the Africanist presence,” the paper discusses how the character’s repressed African-American past returns to haunt not only the protagonist but also the reader. As biracial Coleman Silk succeeds in passing for a Jew, his body becomes a signifier whose signified turns out to be problematic. While Roth’s narrative argues that the ideal of a self-made man that the protagonist represents is always already haunted by the ghost of racial uncertainty, it also demonstrates that the issue of race functions in contemporary writing primarily as a metaphor, or “a way of referring to and disguising forces, events, classes, and expressions of social decay and economic division far more threatening to the body politic than biological ‘race’ ever was.” Finally, the paper explores the way in which Roth’s novel addresses the long familiar fear that racial boundaries do not exist and the coherent white American self is an illusion.
PL
Tematem artykułu jest problem przynależności rasowej i związanych z nią niejednoznaczności w powieści Philipa Rotha pt. Ludzka skaza. Bohaterem książki jest czarnoskóry Coleman Silk, którego jasna karnacja pozwala mu na podawanie się za białego człowieka. Odwołując się do książki Toni Morrison pt. Playing in the Dark: Whiteness and the Literary Imagination, autorka pokazuje w jaki sposób wyparta przez bohatera przynależność rasowa powraca jako trudne do udźwignięcia brzemię, oraz w jaki sposób problem rasy staje się metaforą społecznych i ekonomicznych podziałów w Stanach Zjednoczonych. Artykuł dowodzi także, że jednym z głównych tematów powieści Rotha jest niepokój związany z faktem, że granice rasowe w istocie nie istnieją, a hegemonia białego człowieka zawsze oparta była na iluzji.
5
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Whiteness in Political Rhetoric: A Discourse Analysis of Peruvian Racial-Nationalist “Othering”

51%
Escobedo L.
Studia z Geografii Politycznej i Historycznej
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2016
|
vol. 5
257-272
PL
Wychodząc od prac Paulo Drinota, poświęconych centralnej roli założeń rasowych w przejściu do industrializacji na początku XX w. i neoliberalizmu na początku XXI w. w Peru, dokonano analizy sposobów, w jakie potężne czynniki państwowe materializują i naturalizują białość wśród Peruwiańczyków, konstruując jednocześnie grupę spoza tego rdzenia jako nacechowanych rasowo „innych”. Bezpośredni i obraźliwy język kierowany przeciwko ludności rdzennej oraz komunistom nie jest jednak jedyną, a nawet nie najbardziej skuteczną metodą konstruowania antagonizmu we współczesnym Peru. Przedstawienie funkcjonowania białości jako konstruktu ideologicznego pozwoli nam lepiej zrozumieć, w jaki sposób najbardziej powszechne, najszerzej akceptowane i nieobraźliwe wyrażenia mogą skutecznie stworzyć antagonizmy na tle rasowym. Główne cele artykułu osiągnięto, analizując teorie marksistowskie oraz teorię dyskursu Ernesto Laclau i Chantal Mouffe.
EN
Drawing upon Paulo Drinot's works on how racialized assumptions have been central to the transition toward industrialization, and neoliberalism in early 20th-, and early 21st-century Peru, respectively, this monograph analyses how contemporary powerful state agents efficiently naturalize whiteness among Peruvians by equating it with progress and constructing the non-core group as a racialized “Other”, in and through the articulation of language and meaning. I claim that direct, naked, and offensive anticommunist and anti-indigenous language is not the only, or the most efficient, way in which an antagonism is constructed in contemporary Peru. By understanding how whiteness operates in political rhetoric, we will be able to visualize more clearly how even the most common, widely accepted, and allegedly inoffensive expressions can be effective in the construction of racial antagonisms. In order to accomplish these objectives and support these claims, I will engage Ernesto Laclau and Chantal Mouffe's theory of discourse.
6

“I came a long way to get here”: Narrative point of view, the trope of the journey and recontextualization in Kaye Gibbons’s Ellen Foster and its cinematic adaptation

45%
Niewiadomska-Flis U.
Roczniki Humanistyczne
|
2015
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vol. 63
|
issue 11: Anglica
259-273
EN
The main theoretical aim of this article is to analyze the ways in which the narrative discourse and thematic concerns of Kaye Gibbons’s best-selling novel Ellen Foster (1987), the literary original, are creatively re-worked in a different medium—its cinematic adaptation, the Hallmark Hall of Fame film. Therefore, I seek to show how the narrative point of view of the novel Ellen Foster is transcoded to the film of the same name, and to what degree the thematic concerns of the literary precursor find their way into a different medium. I will also analyze the final words uttered by the narrator within the rhetoric and narrative logic of both media to see whether they are consistent with the cultural discourse the texts are engaged in.
PL
Przesłanką teoretyczną artykułu jest analiza procesu adaptacji dyskursu narracyjnego i rozległego spektrum tematycznego, przeprowadzona w oparciu o ekranizację powieści Kaye Gibbons Ellen Foster z 1987 r. Głównym celem artykułu jest ukazanie sposobu prezentacji narracyjnego punktu widzenia oraz zagadnień tematycznych przeniesionych z literackiego pierwowzoru do filmu o takim samym tytule z serii the Hallmark Hall of Fame. Dokładnej analizie zostały poddane słowa występujące w zakończeniu dzieł, posługujących się odmiennymi środkami przekazu, rozpatrywane w kontekście retorycznym i logicznym. Oddzielne miejsce zostało poświęcone kwestii spójności obydwu mediów z dyskursem kulturowym, w który się wpisują.
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