Pub Date : 2022-01-01DOI: 10.1515/culture-2022-0152
Dorottya Mózes
Abstract The article draws together sound studies and Black studies to examine Himes’s sonic inventions and interventions for imagining the persistence of Black life under conditions of extreme domination. Taking up Sharpe’s call for recognizing “insistent Black visualsonic resistance to that imposition of non/being,” it finds that Himes’s soundscapes in The Heat’s On offer alternatives to how western sound studies theoreticians think about the relationship between sound, white supremacy, and the environment (21). The article contributes to research on the sonic modalities of resistance and domination as well as ongoing discussions about the importance of listening, specifically, the ways in which listening fosters alternative forms of relationality and spatiality. As far as the sonic subversions and experiments of Harlemites, “Black noise” emerges as something that bypasses attempts at capture, including dominant cultural norms, strategies of silencing, and raciolinguistic attitudes toward vernacular forms of Black English. Finally, the article emphasizes the link between what it terms sonic silence, embodied practices of listening and breathing where keeping breath in the Black body can be seen as a prerequisite to interconnected forms of consciousness and being.
{"title":"“It Was Like Listening to Someone Laughing Their Way Toward Death”: Black Noise, Vocal Experiments, and Sonic Silence in Chester Himes’s The Heat’s On","authors":"Dorottya Mózes","doi":"10.1515/culture-2022-0152","DOIUrl":"https://doi.org/10.1515/culture-2022-0152","url":null,"abstract":"Abstract The article draws together sound studies and Black studies to examine Himes’s sonic inventions and interventions for imagining the persistence of Black life under conditions of extreme domination. Taking up Sharpe’s call for recognizing “insistent Black visualsonic resistance to that imposition of non/being,” it finds that Himes’s soundscapes in The Heat’s On offer alternatives to how western sound studies theoreticians think about the relationship between sound, white supremacy, and the environment (21). The article contributes to research on the sonic modalities of resistance and domination as well as ongoing discussions about the importance of listening, specifically, the ways in which listening fosters alternative forms of relationality and spatiality. As far as the sonic subversions and experiments of Harlemites, “Black noise” emerges as something that bypasses attempts at capture, including dominant cultural norms, strategies of silencing, and raciolinguistic attitudes toward vernacular forms of Black English. Finally, the article emphasizes the link between what it terms sonic silence, embodied practices of listening and breathing where keeping breath in the Black body can be seen as a prerequisite to interconnected forms of consciousness and being.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"6 1","pages":"167 - 184"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47609379","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1515/culture-2022-0145
Georgina Abreu
Abstract The rendering of the Queen Caroline affair by the radical periodical press constitutes a case study of the intersection of the press, propaganda, gender, class, politics, and, ultimately, a metaphor of political and cultural change. Rooted in this assertion, the present essay examines and interprets the version of the Queen Caroline affair in the three radical periodicals that resisted the passing of the Six Acts in 1819. These were The Republican, edited by Richard Carlile; Cobbett’s Weekly Political Register, edited by William Cobbett; and the Black Dwarf, edited by Thomas Jonathan Wooler. The Conclusion determines the extent to which early nineteenth-century radical journalism contributed to political and cultural progress. The protagonists of the Queen Caroline affair in the radical periodicals were timeless: they were corruption, injustice, lack of freedom, and the public as the motors of change – a political struggle with deep cultural undertones.
{"title":"The Queen Caroline Affair in Radical Periodicals","authors":"Georgina Abreu","doi":"10.1515/culture-2022-0145","DOIUrl":"https://doi.org/10.1515/culture-2022-0145","url":null,"abstract":"Abstract The rendering of the Queen Caroline affair by the radical periodical press constitutes a case study of the intersection of the press, propaganda, gender, class, politics, and, ultimately, a metaphor of political and cultural change. Rooted in this assertion, the present essay examines and interprets the version of the Queen Caroline affair in the three radical periodicals that resisted the passing of the Six Acts in 1819. These were The Republican, edited by Richard Carlile; Cobbett’s Weekly Political Register, edited by William Cobbett; and the Black Dwarf, edited by Thomas Jonathan Wooler. The Conclusion determines the extent to which early nineteenth-century radical journalism contributed to political and cultural progress. The protagonists of the Queen Caroline affair in the radical periodicals were timeless: they were corruption, injustice, lack of freedom, and the public as the motors of change – a political struggle with deep cultural undertones.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"9 3","pages":"88 - 99"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41270287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1515/culture-2022-0157
D. Prianti, I. W. Suyadnya
Abstract The study of colonialism and its legacies have mostly left the category of memory studies. However, for the colonised subject, what they experienced in the past inevitably forms their present and future discourse. This study focuses on how the museum’s visual order articulates colonial memory. By looking at the work of representation, in this context museum’s visual order, this study investigates how memory lives on through the circulation of colonial memory that the museum simulates. Museum’s visual order translates how colonial memory should be remembered and celebrated as public knowledge. Although research on how museums affect society knowledge have been part of both memory and museum studies, those two studies barely touch upon museums’ role in translating colonial memory in the postcolonial nation. Memory lives on through its circulation in media forms. However, premeditation and mediation are made possible through articulating social and cultural sites, in this case, museums practice. In order to achieve its purposes, this research investigates public museums in different parts of Java, Indonesia which have colonial memory objects. The combination of field observation, document review, and visual method followed by focus group discussion between stakeholders and researchers are conducted to propose the research conclusion. This research argues that the museum’s visual order translates interrelated colonial memories to be accepted as a part of the history that forms the “existence” of the nation and to be appreciated as public knowledge that is shared and forms the national identity. In doing so, museum practice roams into the area of political visibility which decides the legibility of the narrative related to colonial memory. In addition, as museum practice is basically a colonial legacy, this research concludes that it is essential to deconstruct the practice from the perspective of the colonised.
{"title":"Decolonising Museum Practice in a Postcolonial Nation: Museum’s Visual Order as the Work of Representation in Constructing Colonial Memory","authors":"D. Prianti, I. W. Suyadnya","doi":"10.1515/culture-2022-0157","DOIUrl":"https://doi.org/10.1515/culture-2022-0157","url":null,"abstract":"Abstract The study of colonialism and its legacies have mostly left the category of memory studies. However, for the colonised subject, what they experienced in the past inevitably forms their present and future discourse. This study focuses on how the museum’s visual order articulates colonial memory. By looking at the work of representation, in this context museum’s visual order, this study investigates how memory lives on through the circulation of colonial memory that the museum simulates. Museum’s visual order translates how colonial memory should be remembered and celebrated as public knowledge. Although research on how museums affect society knowledge have been part of both memory and museum studies, those two studies barely touch upon museums’ role in translating colonial memory in the postcolonial nation. Memory lives on through its circulation in media forms. However, premeditation and mediation are made possible through articulating social and cultural sites, in this case, museums practice. In order to achieve its purposes, this research investigates public museums in different parts of Java, Indonesia which have colonial memory objects. The combination of field observation, document review, and visual method followed by focus group discussion between stakeholders and researchers are conducted to propose the research conclusion. This research argues that the museum’s visual order translates interrelated colonial memories to be accepted as a part of the history that forms the “existence” of the nation and to be appreciated as public knowledge that is shared and forms the national identity. In doing so, museum practice roams into the area of political visibility which decides the legibility of the narrative related to colonial memory. In addition, as museum practice is basically a colonial legacy, this research concludes that it is essential to deconstruct the practice from the perspective of the colonised.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"6 1","pages":"228 - 242"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49523986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1515/culture-2022-0147
B. Wallace
Abstract Under the umbrella of what Brittney Cooper calls “progressive feminist visions,” this article reads Solange’s 2017 essay (“A Letter to My Teenage Self”) and her 2016 album (A Seat at the Table) as part of a Black feminist agenda to unfetter and embolden Black women to affirm their voices, visions, and knowledge(s). In doing this work, Solange makes visible how said voices, visions, and knowledge(s) are not only meaningful but also transformative. “Trust in these words” opens by establishing Solange’s work as progressive feminist visions. It then moves into an analysis of the role of vision and voice in crafting new ways of being and becoming as represented in the epistolary essay, “A Letter to My Teenage Self” and the album A Seat at the Table. The study closes by reflecting on how Solange’s work can be seen as Black feminist epistemologies that allow us to amplify Black women’s humanity.
{"title":"“Trust in These Words”: Vision, Voice, and Black Women’s Ways of Knowing","authors":"B. Wallace","doi":"10.1515/culture-2022-0147","DOIUrl":"https://doi.org/10.1515/culture-2022-0147","url":null,"abstract":"Abstract Under the umbrella of what Brittney Cooper calls “progressive feminist visions,” this article reads Solange’s 2017 essay (“A Letter to My Teenage Self”) and her 2016 album (A Seat at the Table) as part of a Black feminist agenda to unfetter and embolden Black women to affirm their voices, visions, and knowledge(s). In doing this work, Solange makes visible how said voices, visions, and knowledge(s) are not only meaningful but also transformative. “Trust in these words” opens by establishing Solange’s work as progressive feminist visions. It then moves into an analysis of the role of vision and voice in crafting new ways of being and becoming as represented in the epistolary essay, “A Letter to My Teenage Self” and the album A Seat at the Table. The study closes by reflecting on how Solange’s work can be seen as Black feminist epistemologies that allow us to amplify Black women’s humanity.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"6 1","pages":"100 - 112"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45509069","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1515/culture-2022-0160
Kristin Denise Rowe
Abstract This article explores how Black women use storytelling to construct their Black girlhood on the axes of Black hair and beauty politics. The study includes a discourse analysis of a series of focus groups with a student organization dedicated to Black women’s natural hair at a midwestern predominantly white institution. I ask: How do young Black women use storytelling as a tool to construct, recall, and (re)negotiate their childhood experiences of hair and beauty politics? I explore the ways these women use storytelling to articulate how their Black girlhood was in part shaped by encounters with hair politics and constructions of beauty. These “hair moments” that they recall reveal complex negotiations of standards of beauty. I analyze three themes that emerge from these conversations: (1) shared experiences around play, imagination, and relationship to images of mainstream beauty; (2) family as a social unit that socializes Black girls around beauty; and (3) adolescence, prom, and contested notions of appropriate “formal” adornment. These themes among these young women illustrate shared experiences, negotiation/critique, and meaning making around concepts of beauty. This study contributes to conversations around beauty culture, Black hair politics, and the bourgeoning field of Black girlhood studies. Through understanding how Black women reflect on their girlhood experiences of the politics of hair and beauty, we can better understand the inner experiences of Black girls, and the complexities of how they come to know and understand their bodies.
{"title":"“Unmanageable”: Exploring Black Girlhood, Storytelling, and Ideas of Beauty","authors":"Kristin Denise Rowe","doi":"10.1515/culture-2022-0160","DOIUrl":"https://doi.org/10.1515/culture-2022-0160","url":null,"abstract":"Abstract This article explores how Black women use storytelling to construct their Black girlhood on the axes of Black hair and beauty politics. The study includes a discourse analysis of a series of focus groups with a student organization dedicated to Black women’s natural hair at a midwestern predominantly white institution. I ask: How do young Black women use storytelling as a tool to construct, recall, and (re)negotiate their childhood experiences of hair and beauty politics? I explore the ways these women use storytelling to articulate how their Black girlhood was in part shaped by encounters with hair politics and constructions of beauty. These “hair moments” that they recall reveal complex negotiations of standards of beauty. I analyze three themes that emerge from these conversations: (1) shared experiences around play, imagination, and relationship to images of mainstream beauty; (2) family as a social unit that socializes Black girls around beauty; and (3) adolescence, prom, and contested notions of appropriate “formal” adornment. These themes among these young women illustrate shared experiences, negotiation/critique, and meaning making around concepts of beauty. This study contributes to conversations around beauty culture, Black hair politics, and the bourgeoning field of Black girlhood studies. Through understanding how Black women reflect on their girlhood experiences of the politics of hair and beauty, we can better understand the inner experiences of Black girls, and the complexities of how they come to know and understand their bodies.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"6 1","pages":"243 - 259"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45754005","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1515/culture-2022-0153
Shipra Tholia, Amar Singh
Abstract A central concern of the article is to examine how the female gaze is evident in the films of Indian film director Sai Paranjpye. More specifically, this research article analyses the ways, how female gaze asserts itself by playing with established cinematic codes while keeping the political and social condition of the time in the foreground. In this article, the focus is on examining the reflexive disposition of Sai by recontextualizing the conversant tropes popularized in Hindi films. This article also explores the ways in which a film itself participates in defining the “gaze” or, in other words, in questioning the cultural training of viewing. For the article, three films, Sparsh, Chashme Buddoor, and Katha, are taken as case studies. Using these three films as examples, the article explores how narrative techniques can be used to challenge established cinematic codes while making the female gaze distinguishable. The examples discussed are chosen in such a way that, on the one hand, they occupy cases of a broad continuum of cinematic narration specific to Bollywood, and on the other, they introduce a semiotic approach.
{"title":"Recontextualizing the Cinematic Code: The “Female Gaze” of Sai Paranjpye in Sparsh, Chashme Buddoor, and Katha","authors":"Shipra Tholia, Amar Singh","doi":"10.1515/culture-2022-0153","DOIUrl":"https://doi.org/10.1515/culture-2022-0153","url":null,"abstract":"Abstract A central concern of the article is to examine how the female gaze is evident in the films of Indian film director Sai Paranjpye. More specifically, this research article analyses the ways, how female gaze asserts itself by playing with established cinematic codes while keeping the political and social condition of the time in the foreground. In this article, the focus is on examining the reflexive disposition of Sai by recontextualizing the conversant tropes popularized in Hindi films. This article also explores the ways in which a film itself participates in defining the “gaze” or, in other words, in questioning the cultural training of viewing. For the article, three films, Sparsh, Chashme Buddoor, and Katha, are taken as case studies. Using these three films as examples, the article explores how narrative techniques can be used to challenge established cinematic codes while making the female gaze distinguishable. The examples discussed are chosen in such a way that, on the one hand, they occupy cases of a broad continuum of cinematic narration specific to Bollywood, and on the other, they introduce a semiotic approach.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"6 1","pages":"113 - 126"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46843116","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1515/culture-2022-0162
Noor F. Al-Yasin
Abstract Egyptian Vernacular Arabic is often used when Disney animated movies are dubbed in Arabic. Since vernacular varieties reflect culture, the present article aims to study the translation procedures used in dubbing culture-bound expressions in Disney animated movies. Three Disney animated movies were selected for this purpose, The Lion King, Toy Story 2, and Finding Nemo. To analyse the dubbed culture-bound expressions, I adopted Tomaszkiewicz’s procedures of dubbing and subtitling. The study revealed that the most frequently used dubbing procedures were adaptation taken from the target language and providing cultural equivalents. These two procedures are recommended by previous scholars who suggested that culture cannot be translated literally and translators should always find an equivalent that the viewer understands in the target language. The procedure literal translation was seldom used, whereas omission, generalisation, and replacement were not used at all. It has also been concluded that manipulation of the original text was done by using dubbing procedures that mainly aim to make the text closer to the viewer in terms of adjusting to their native language and culture. The article concludes with recommendations for further research.
{"title":"Translation Procedures of Cultural-Bound Expressions in the Egyptian Vernacular Dubbed Versions of Three Disney Animated Movies","authors":"Noor F. Al-Yasin","doi":"10.1515/culture-2022-0162","DOIUrl":"https://doi.org/10.1515/culture-2022-0162","url":null,"abstract":"Abstract Egyptian Vernacular Arabic is often used when Disney animated movies are dubbed in Arabic. Since vernacular varieties reflect culture, the present article aims to study the translation procedures used in dubbing culture-bound expressions in Disney animated movies. Three Disney animated movies were selected for this purpose, The Lion King, Toy Story 2, and Finding Nemo. To analyse the dubbed culture-bound expressions, I adopted Tomaszkiewicz’s procedures of dubbing and subtitling. The study revealed that the most frequently used dubbing procedures were adaptation taken from the target language and providing cultural equivalents. These two procedures are recommended by previous scholars who suggested that culture cannot be translated literally and translators should always find an equivalent that the viewer understands in the target language. The procedure literal translation was seldom used, whereas omission, generalisation, and replacement were not used at all. It has also been concluded that manipulation of the original text was done by using dubbing procedures that mainly aim to make the text closer to the viewer in terms of adjusting to their native language and culture. The article concludes with recommendations for further research.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"6 1","pages":"294 - 306"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47660636","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1515/culture-2020-0142
Krisztina Kodó
Abstract This article looks at Anne Brontë’s poetic development within a span of 11 years from 1838 to 1849. The selected six poems – The North Wind (1838), Bluebell (1840), To… (1842), Night (1845), The Narrow Way (1848), and Last Lines (1849) – highlight different stages of artistic development and personal reflection which Anne called the “pillars of witness.” The aim of this article is to present arguments that perplex the myth that was created around her persona after her early death. The article will focus on a close analysis of the above-selected poems aimed at exploring the ways in which the legacy created around Anne Brontë distorts the author’s insightful cultural reflections about her era.
{"title":"Cultural Reflections of Time and Space that Contradict a Legacy in Anne Brontë’s Poetry","authors":"Krisztina Kodó","doi":"10.1515/culture-2020-0142","DOIUrl":"https://doi.org/10.1515/culture-2020-0142","url":null,"abstract":"Abstract This article looks at Anne Brontë’s poetic development within a span of 11 years from 1838 to 1849. The selected six poems – The North Wind (1838), Bluebell (1840), To… (1842), Night (1845), The Narrow Way (1848), and Last Lines (1849) – highlight different stages of artistic development and personal reflection which Anne called the “pillars of witness.” The aim of this article is to present arguments that perplex the myth that was created around her persona after her early death. The article will focus on a close analysis of the above-selected poems aimed at exploring the ways in which the legacy created around Anne Brontë distorts the author’s insightful cultural reflections about her era.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"6 1","pages":"54 - 63"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41598874","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1515/culture-2022-0148
Bennefield Zinobia, Jackson Taylor
Abstract An overarching narrative exists that the self-concept of Black girls is adversely impacted by the negative portrayals of Black Americans in the mainstream media. We assert that this mainstream narrative presents a deficit model account in which Black girls are perpetual victims of white racism. A more complete narrative, one that we offer in this essay, is that while the white patriarchal society has tried, through various means, to undermine the self-esteem of Black Americans, Black girls are healthy, confident, and full of belief in themselves, their beauty, and their power. We argue that much of the power exhibited by Black girls can be attributed to three crucial supports. First, the Black childhood facilitated by the Black family, Black spirituality or “Black girl magic” as it has come to be known in the mainstream, and sisterhood with peers and elders. We offer this counter narrative in order to challenge the predominate account but also to enable critical thought about the resilience Black girls possess, a magic wherein they engage in self-definition and see their worth despite society’s attempts to crush their souls.
{"title":"The Girls Are Alright: Examining Protective Factors of US Black Culture and Its Impact on the Resilience of Black Girls and Women","authors":"Bennefield Zinobia, Jackson Taylor","doi":"10.1515/culture-2022-0148","DOIUrl":"https://doi.org/10.1515/culture-2022-0148","url":null,"abstract":"Abstract An overarching narrative exists that the self-concept of Black girls is adversely impacted by the negative portrayals of Black Americans in the mainstream media. We assert that this mainstream narrative presents a deficit model account in which Black girls are perpetual victims of white racism. A more complete narrative, one that we offer in this essay, is that while the white patriarchal society has tried, through various means, to undermine the self-esteem of Black Americans, Black girls are healthy, confident, and full of belief in themselves, their beauty, and their power. We argue that much of the power exhibited by Black girls can be attributed to three crucial supports. First, the Black childhood facilitated by the Black family, Black spirituality or “Black girl magic” as it has come to be known in the mainstream, and sisterhood with peers and elders. We offer this counter narrative in order to challenge the predominate account but also to enable critical thought about the resilience Black girls possess, a magic wherein they engage in self-definition and see their worth despite society’s attempts to crush their souls.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"6 1","pages":"218 - 227"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48818253","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1515/culture-2022-0143
A. Anand, P. Tripathi
Abstract In the postmodernist transnational moment, the “city” is a “distinctive location of diasporic dwelling, belonging and attachment” and that the city as home is rooted in “city-specific memories” (Blunt and Bonnerjee 237). Emotions and feelings are not static in nature; the very place where one is born becomes a memory house once the individual moves out. Thus, with dispersion, the spaces of “home” transcend to other physical aspects related to it, i.e., the “locality, town or city spaces” (Roy 141) where one has spent a considerable amount of time. Gaston Bachelard in his formulation of “topoanalysis” analyzes the subjective phenomenological expression vis-à-vis “home” and contends that memories of it are not something remembered, but rather, are entwined with the present. From the literary writings of Amitava Kumar, whose major setting is his hometown “Patna,” the article considers the “city” as a sentimental space of “home” that often forms the core of his varied literary works and manifested through the diasporic consciousness of the author. His literary writings, such as Passport Photos, Bombay-London-New York and A Matter of Rats, showcase the author’s constant negotiation of Patna. The literary texts under consideration explore how Kumar extrapolates through his “sense of place” (Agnew in Creswell 7), where “home” becomes an instrument of “topoanalysis” (Bachelard 8). Using Kumar’s literary texts as a literary example, this article offers new ways into thinking of the associated concerns of diaspora, home, city spaces and topoanalysis.
在后现代主义的跨国时代，“城市”是“散居、归属和依恋的独特场所”，而作为家的城市根植于“城市特定的记忆”(Blunt and Bonnerjee 237)。情绪和感觉在本质上不是静态的;一个人出生的地方一旦搬出去，就会成为记忆之家。因此，随着离散，“家”的空间超越了与之相关的其他物理方面，即“地方、城镇或城市空间”(Roy 141)，人们在那里度过了相当多的时间。加斯顿·巴舍拉在他的“拓扑分析”中分析了对-à-vis“家”的主观现象学表达，并认为对它的记忆不是被记住的东西，而是与现在交织在一起的。本文从阿米塔瓦·库马尔以故乡巴特那为主要背景的文学作品出发，认为“城市”是一个“家”的情感空间，往往构成他各种文学作品的核心，并通过作者的流散意识表现出来。他的文学作品，如《护照照片》、《孟买-伦敦-纽约》和《老鼠的事》，展示了作者对巴特那的不断谈判。所考虑的文学文本探讨了库马尔如何通过他的“地方感”(Agnew in Creswell 7)进行推断，其中“家”成为“地形分析”(Bachelard 8)的工具。本文以库马尔的文学文本为例，为思考散居、家、城市空间和地形分析等相关问题提供了新的途径。
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