黑人性、黑人种族主义和现代性——托妮·莫里森小说中的种族问题

表现黑人身上体现出来的黑人性和白人性的纠葛是莫里森小说的主要内容,批判黑人身上的种族主义内化正是莫里森小说的主题.针对激进的黑人主体性建构思想,莫里森表达了她对排外性的黑人种族主义的忧虑.在莫里森看来,进一步融入现代性,才是黑人族群解放的方向和道路.莫里森所指的现代性,主要是指以美国黑人的现代性转换为中心,以资本主义现代性开放社会为范本,其首要任务则是实现黑人社区的开放,清除黑人自我意识中被扭曲和被异化的种族主义意识,恢复其"黑人"和"美国人"的文化身份.     

Making Black Lives Matter in academia: A Black feminist call for collective action against anti‐blackness in the academy

In this article, as have many Black women scholars in the past, we again call for collective action against anti‐blackness and White supremacy in the academy. Drawing from black feminist theory, we discuss the long history of Black women academics' activism against anti‐black racism and introduce the current movement: Black Lives Matter (BLM). Although BLM is often construed as resisting anti‐black violence outside the academy, it is also relevant for within the academy wherein anti‐blackness is likely to be manifested as disdain, disregard, and disgust for Black faculty and students. We discuss some of the ways in which anti‐blackness and liberal White supremacy are manifested in the lives of Black faculty and students, and propose that non‐Black allies have key roles to play in resisting them. Like second‐hand cigarette smoke that harms everyone in proximity, anti‐blackness and White supremacy harm us all, and a shared movement is needed to dismantle them.     

身体·性别·主体：论《看不见的人》对黑人性的操演

性别和身体是理解黑人性的一个重要维度,在《看不见的人》这一黑人巨著中,对黑人身体的规训建构了黑人与白人之间的性别等级,性别等级成了强化黑人与白人问种族差异的又一基石。黑人对身份和性别的操演解构了关于黑人种族的本质主义迷思,操演的性别揭示了黑人性的丰富内涵,重塑了黑人性的复杂与多元,操演的身份实际上是对白人父权制性别等级制度的颠覆和反抗,是对性别民主和主体性的诉求。     

The (em)bodiment of blackness in a visceral anti-black racism and ableism context

Over the years, many scholarly publications have extensively discussed disability ‘diagnoses’ and placement practices in special education programs in the United States and the United Kingdom. These publications argue that racism and classism rather than clinically predetermined factors appear to influence the disability diagnosis and placement practices in special education. The present essay is contributing to the debate by critically exploring the relationship(s) between race, class, and disability ‘diagnoses’ and placement practices in special education programs in Toronto, Canada. The core ideas noted in the essay are drawn from a personal story of an African-Canadian parent – a story of a daughter with a diagnosed disability and her mother’s struggle to resist the disability ‘diagnosis’ as well as her battle rejecting her daughter’s placement in the special education program in a Toronto public school. Using this personal account, other literature, and anti-black racism theory, I argue that special education programming in Toronto, Canada helps white middle/upper class Canadians achieve a de facto race/class-based segregation in the Toronto public school system. Whereas the Supreme Courts’ rulings on Brown vs. the Board of Education in the United States and Washington vs. the Trustees of Charlottesville in Canada have insisted that whites and non-whites attend the same school, special education identification practices ensure that whites and non-whites do not have to belong to the same classroom. I conclude that when educational practices move into spaces of pathologization, blacks and working-class students are continually at risk of facing exclusionary practices. One thing is clear: the significance of skin color in the mind of the racist cannot easily be dismissed.     

Recycling Judy and Corliss

This article analyzes the racial and sexual politics of the domestic sitcom Gimme a Break (NBC, 1981–1987). Gimme a Break starred black actress and singer Nell Carter as “Nell,” a former nightclub singer who was now the lascivious caretaker of a white family. As a single woman living with a single (widowed) white man and his children, the show's use of sexual humor clashed with its refusal to breach the interracial sex taboo. This article argues that Gimme a Break relied upon the delightful difference signified by Nell's black sass and sexuality, but labored to contain it. Part of this strategy was imbedded in Carter's grotesque body; its fat blackness was accorded hypersexuality through its link to the black blues tradition and aberrant black sexuality, but was also deemed unappealing, and therefore “safe,” within a white context. Another important strategy was to repeatedly deny that Nell and the white father were attracted to each other. However, the gags and storylines meant to disavow this attraction also had to first invoke it. The result of these contradictions and negotiations was that as long as the white father was present on the show, Nell's sexuality was potentially disruptive.     

Thank you Jah Jah fe give me this a colour: Yellowman's revalorization of the dundus

In 1982, Winston ‘Yellowman’ Foster rose to prominence as Jamaica's king of dancehall reggae and popularized the music genre internationally in the wake of Bob Marley's death. As a dundus, or black person with albinism, Yellowman challenged colonial-derived Jamaican social codes that questioned his blackness and masculinity. By using white society's stereotypes of black hypersexuality and symbols of blackness derived from Rastafari and its ideological forebears, Yellowman was able to transform the dundus identity by portraying himself as African, black, and included in what Carnegie in ‘The Dundus and the Nation’ (1996) calls the imaginary racially homogeneous (i.e. black) Jamaican nation. Furthermore, through his performance of slack or sexually themed songs Yellowman contested embedded cultural definitions of the dundus as impotent and instead successfully represented the body with albinism as the sexually desirable ‘modern body.’ This paper uses interpretive methodologies from interrelated fields such as cultural studies, religious studies and anthropology in recognition that the context of Yellowman's racial critique is found not only in his songs but in his life story as well. Therefore it draws on ethnographic fieldwork, textual analysis of song lyrics and a study of the discourse on Yellowman in the popular and scholarly literature.     

论莫里森小说中的黑人性

在莫里森的小说创作中,美国黑人历史文化、非洲宗教和精神传统的影响无处不在.其中,关于名称的隐喻和飞翔的意象,传达出黑人奴隶在饱受白人奴役的残酷历史和现实中对自我身份认定和自由生活的渴望,从而表现出黑人文化的巨大艺术魅力,以及保护和弘扬黑人性的重要性和紧迫性.     

《日用家当》的多维度象征意义探析

短篇小说<日用家当>反映了在白人主流文化社会中黑人传统文化的认同问题.作者爱丽丝*沃克将小说中的人物、事件、场景等赋予了象征意义,它们组成了一个带有意指的文化符号系统.作者透过这些符号具体形象的表层意义传递着其中所蕴涵的文化观念、思想,充分表达了美国黑人内心深处的感受和期盼.小说的多维象征意义实现了文学的模糊性美学价值,体现了美国黑人的美学价值观,也提供给读者更宽广的解读空间和更丰富的审美享受.