Journal articles: 'Black Skin, White Masks'

1

Morse, Ruth. "Othello : white skin, black masks." Cahiers Charles V 24, no. 1 (1998): 65–83. http://dx.doi.org/10.3406/cchav.1998.1206.

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Jean-Marie, Vivaldi. "Fanon’s Black Skin, White Masks." CLR James Journal 23, no. 1 (2017): 193–210. http://dx.doi.org/10.5840/clrjames201711641.

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Ming Wahl, Emma. "Black Women in Fanon's Black Skin, White Masks." Stance: an international undergraduate philosophy journal 14, no. 1 (2021): 41–51. http://dx.doi.org/10.33043/s.14.1.41-51.

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In this paper, I focus on the representations of Black women in contrast to Black men found within Frantz Fanon’s philosophical work Black Skin, White Masks. I propose that while Fanon’s racial dialectical work is very significant, he often lacks acknowledgment of the multidimensionality of the Black woman’s lived experience specifically. Drawing on the theory of intersectionality, coined by Kimberlé Crenshaw, I argue that Fanon does not recognize the different layers of oppression operating in Black women’s lives to the degree that he fails to include them within his framework of both liberation and resistance from racial oppression.

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Wahl, Emma Ming. "Black Women in Fanon’s Black Skin, White Masks." Stance: An International Undergraduate Philosophy Journal 14 (2021): 40–50. http://dx.doi.org/10.5840/stance2021143.

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In this paper, I focus on the representations of Black women in contrast to Black men found within Frantz Fanon’s philosophical work Black Skin, White Masks. I propose that while Fanon’s racial dialectical work is very significant, he often lacks acknowledgement of the multidimensionality of the Black woman’s lived experience specifically. Drawing on the theory of intersectionality, coined by Kimberlé Crenshaw, I argue that Fanon does not recognize the different layers of oppression operating in Black women’s lives to the degree that he fails to include them within his framework of both liberation and resistance from racial oppression.

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Littlewood, Roland. "Frantz Fanon's Black Skin, White Masks – reflection." British Journal of Psychiatry 203, no. 3 (2013): 187. http://dx.doi.org/10.1192/bjp.bp.113.127324.

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Newby, Robert G., Issac Julien, and Mark Nash. "Black Skins, White Masks." Teaching Sociology 26, no. 2 (1998): 152. http://dx.doi.org/10.2307/1319290.

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Adkins, A. V. "Black/Feminist Futures: Reading Beauvoir in Black Skin, White Masks." South Atlantic Quarterly 112, no. 4 (2013): 697–723. http://dx.doi.org/10.1215/00382876-2345243.

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Lauretis, Teresa de. "Difference Embodied: Reflections on Black Skin, White Masks." Parallax 8, no. 2 (2002): 54–68. http://dx.doi.org/10.1080/13534640210130421.

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Friese, Kai. "White Skin, Black Mask." Transition, no. 80 (1999): 4. http://dx.doi.org/10.2307/2903164.

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Calhoun, Doyle. "Fanon's Lexical Intervention: Writing Blackness in Black Skin, White Masks." Paragraph 43, no. 2 (2020): 159–78. http://dx.doi.org/10.3366/para.2020.0330.

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This essay provides a subtly new reading of Frantz Fanon's Peau noire, masques blancs ( Black Skin, White Masks; 1952) through a re-examination of one of its key terms: noirceur, or ‘blackness’. While noirceur slips easily into English translation as Blackness, it was never available or viable in French as a way to speak about Black identity, at least not before Fanon. Hence the need for Negritude. By considering Fanon's use of noirceur as a case of ‘semantic neologism’, I argue that Fanon's re-appropriation and resignification of the term played a role alongside the more spectacular ‘Negritude’ in the broader effort to represent — indeed, to lexicalize — Blackness in French.

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이기은. "Morrison's The Bluest Eye and Fanon's Black Skin, White Masks." English & American Cultural Studies 16, no. 1 (2016): 85–110. http://dx.doi.org/10.15839/eacs.16.1.201602.85.

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Andrade, Susan Z. "White Skin, Black Masks: Colonialism and the Sexual Politics of Oroonoko." Cultural Critique, no. 27 (1994): 189. http://dx.doi.org/10.2307/1354482.

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Wright, M. "African Identity in Post-Apartheid Public Architecture: White skin, black masks." African Affairs 112, no. 446 (2012): 167–68. http://dx.doi.org/10.1093/afraf/ads078.

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Chronopoulos, Themis. "African identity in post-apartheid public architecture: white skin, black masks." Planning Perspectives 27, no. 3 (2012): 492–94. http://dx.doi.org/10.1080/02665433.2012.680291.

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Rogin, M. "Black Masks, White Skin: Consciousness of Class and American National Culture." Radical History Review 1992, no. 54 (1992): 141–52. http://dx.doi.org/10.1215/01636545-1992-54-141.

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Kiberd, Declan. "White Skins, Black Masks?: Celticism and Négritude." Éire-Ireland 31, no. 1-2 (1996): 163–75. http://dx.doi.org/10.1353/eir.1996.0009.

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Dworkin, Dennis, Mark Nash, and Isaac Julien. "Frantz Fanon: Black Skin, White Mask." American Historical Review 105, no. 1 (2000): 327. http://dx.doi.org/10.2307/2652622.

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SMITH, IAN. "White Skin, Black Masks: Racial Cross-Dressing on the Early Modern Stage." Renaissance Drama 32 (January 2003): 33–67. http://dx.doi.org/10.1086/rd.32.41917375.

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MAGUBANE, ZINE. "Black Skins, Black Masks or “The Return of the White Negro”." Men and Masculinities 4, no. 3 (2002): 233–57. http://dx.doi.org/10.1177/1097184x02004003002.

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Bernasconi, Robert. "Frantz Fanon’s Engagement with Phenomenology: Unlocking the Temporal Architecture of Black Skin, White Masks." Research in Phenomenology 50, no. 3 (2020): 386–406. http://dx.doi.org/10.1163/15691640-12341458.

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Abstract Attention to the role of phenomenology in Frantz Fanon’s Black Skin, White Masks is fundamental to an appreciation of the book’s progressive structure. And it is through an appreciation of this structure that it becomes apparent that the book’s engagement with phenomenology amounts to an enrichment, not a critique, of existential phenomenology, although the latter might appear to be the case at first sight, given Fanon’s rejection of certain aspects of Jean-Paul Sartre’s “Black Orpheus.” This is demonstrated through an examination of Fanon’s references to Sartre, Günther Anders, and Maurice Merleau-Ponty in the book’s final crucial pages on temporality. His largely neglected relation to Karl Jaspers and the concept of historicity is also explored.

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Alexander, Bryant Keith. "Black Skin/White Masks: The Performative Sustainability of Whiteness (With Apologies to Frantz Fanon)." Qualitative Inquiry 10, no. 5 (2004): 647–72. http://dx.doi.org/10.1177/1077800403257640.

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Kim, Kwangsoon. "Frantz Fanon’s Psychoanalytic Investigation of Colonial Relations and Its Phallocentrism in Black Skin, White Masks." Criticism and Theory Society of Korea 22, no. 1 (2017): 279–98. http://dx.doi.org/10.19116/theory.2017.22.1.279.

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23

Goodey, Daniel. "Frantz Fanon: Black Skin, White Mask by Isaac Julien." Philosophia Africana 4, no. 2 (2001): 93–97. http://dx.doi.org/10.5840/philafricana2001428.

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Bergner, Gwen. "Who Is That Masked Woman? Or, the Role of Gender in Fanon's Black Skin, White Masks." PMLA 110, no. 1 (1995): 75. http://dx.doi.org/10.2307/463196.

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Silverman, Melinda. "African Identity in Post-Apartheid Public Architecture: White Skin, Black Masks: Jonathan Alfred Noble Ashgate, 2011 314 pages, 135 black-and-white illustrations $124.95 (hardcover)." Journal of Architectural Education 68, no. 2 (2014): 263–65. http://dx.doi.org/10.1080/10464883.2014.937313.

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Singer, Marc. ""Black Skins" and White Masks: Comic Books and the Secret of Race." African American Review 36, no. 1 (2002): 107. http://dx.doi.org/10.2307/2903369.

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Pile, Steve. "Skin, race and space: the clash of bodily schemas in Frantz Fanon’s Black Skins, White Masks and Nella Larsen’s Passing." cultural geographies 18, no. 1 (2011): 25–41. http://dx.doi.org/10.1177/1474474010379953.

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Gordon, Lewis R. "Through the Zone of Nonbeing A Reading of Black Skin, White Masks in Celebration of Fanon's Eightieth Birthday." CLR James Journal 11, no. 1 (2005): 1–43. http://dx.doi.org/10.5840/clrjames20051111.

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Harris, Kimberly Ann. "What Does It Mean to Move for Black Lives?" Philosophy Today 63, no. 2 (2019): 275–91. http://dx.doi.org/10.5840/philtoday2019731265.

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I argue that the key ideas of the movement for Black lives have resonances with Frantz Fanon’s ideas particularly in Black Skin, White Masks. I first demonstrate how the mission to repudiate Black demise and affirm Black humanity captures Fanon’s critique of universal humanism. The fear of the Black body was central to the testimonies of Darren Wilson, Jeronimo Yanez, and George Zimmerman (the individuals that shot and killed Mike Brown, Philando Castile, and Trayvon Martin respectively). Fanon prioritized the role of the body in his account of racism. It is difficult to not see the relevance of Fanon’s analysis when one considers these testimonies. Lastly, I demonstrate how the chants “Black lives matter,” “Hands up, don’t shoot,” and “I can’t breathe” are acknowledgments of the significance of Black lives and serve as contemporary instances of Fanon’s sociodiagnostic approach.

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Valldejuli, Luis Galanes. "Malinchismo and Misogyny in Fanon’s Black Skin, White Masks: Reading Fanon from the Hispanic Caribbean." Karib – Nordic Journal for Caribbean Studies 2, no. 1 (2015): 7. http://dx.doi.org/10.16993/karib.32.

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Stähler, Axel. "CONSTRUCTIONS OF JEWISH IDENTITY AND THE SPECTRE OF COLONIALISM: OF WHITE SKIN AND BLACK MASKS IN EARLY ZIONIST DISCOURSE." German Life and Letters 66, no. 3 (2013): 254–76. http://dx.doi.org/10.1111/glal.12015.

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32

Ledford, Julian A. "Joseph Boulogne, the Chevalier de Saint-George and the Problem With Black Mozart." Journal of Black Studies 51, no. 1 (2019): 60–82. http://dx.doi.org/10.1177/0021934719892239.

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This article discourages the implementation and use of the term Black Mozart as a popular descriptor for, arguably, the most influential Black composer, violinist, and fencer in 18th-century France: Joseph Boulogne, the Chevalier de Saint-George. By theorizing the term Black Mozart in the discursive frameworks of Fanon’s Black Skin, White Masks, Sartre’s Black Orpheus, and Ter Ellingson’s Myth of the Noble Savage, I reveal the epistemological and ontological problems that the term presents. I find that, while Black Mozart is a clever way of drawing attention to Saint-George’s music and, subsequently, his life, the term occludes the critical treatment of the Black subject to the point of erasure: Saint-George is replaced by a mythicized inferior of the status quo’s perfect symbol of 18th-century classical music. I conclude that by removing the yoke of Mozart’s influence on the reception of Saint-George, we expose him to the fullness of our critical reasoning and restore to him the name he earned for all his talents, trials, and triumphs.

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Burman, Erica. "Fanon’s Lacan and the Traumatogenic Child: Psychoanalytic Reflections on the Dynamics of Colonialism and Racism." Theory, Culture & Society 33, no. 4 (2015): 77–101. http://dx.doi.org/10.1177/0263276415598627.

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This paper revisits Fanon’s relationship with psychoanalysis, specifically Lacanian psychoanalysis, via a close reading of his rhetorics of childhood – primarily as mobilized by the ‘Look, a Negro!’ scenario from Black Skin, White Masks, the traumatogenic scene which installs the black man’s sense of alienation from his own body and his inferiority. While this scene has been much discussed, the role accorded the child in this has attracted little attention. This paper focuses on the role and positioning of the child to reconsider Fanon’s ideas, in relation to his contribution to the social constitution of subjectivity, arguing that reading Fanon alongside both his citations of Lacan and some aspects of Lacanian theory opens up further interpretive possibilities in teasing out tensions in Fanon’s writing around models of subjectivity. Finally, it is argued that it is where Fanon retains an indeterminacy surrounding the child that he is most politically fruitful.

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Karayiannides, Efthimios. "‘Aberrations of affect’, the critique of ontology and the specificity of the colonial relation in Frantz Fanon’s Black Skin, White Masks." Subjectivity 13, no. 4 (2020): 337–54. http://dx.doi.org/10.1057/s41286-020-00108-7.

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Roșcan, Nina. "Childhood Trauma in Maya Angelou’s Autobiographical Fiction – Abuse and Displacement." University of Bucharest Review. Literary and Cultural Studies Series 9, no. 1 (2020): 33–41. http://dx.doi.org/10.31178/ubr.9.1.4.

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The article discusses how trauma is represented in Maya Angelou’s autobiographical fiction, one of the most important themes in all her seven autobiographical novels and an African American feminist marginalized experience that speaks about the intensity and effects of women’s oppression. It explores how the novelist locates traumatic affects in the protagonist, and suggests that Frantz Fanon’s model of racial trauma in Black Skin, White Masks and The Wretched of the Earth remains essential for the interpretation of postcolonial texts. My purpose is to explore the different juxtapositions that the story offers between individual and collective experiences of

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Spillman, Deborah Shapple. "AFRICAN SKIN, VICTORIAN MASKS: THE OBJECT LESSONS OF MARY KINGSLEY AND EDWARD BLYDEN." Victorian Literature and Culture 39, no. 2 (2011): 305–26. http://dx.doi.org/10.1017/s1060150311000015.

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While addressing the Royal African Society, founded in honor of Mary Henrietta Kingsley, Edward Wilmot Blyden reflected on one of his more memorable experiences in Victorian England: During a visit to Blackpool many years ago, I went with some hospitable friends to the Winter Garden where there were several wild animals on exhibition. I noticed that a nurse having two children with her, could not keep her eyes from the spot where I stood, looking at first with a sort of suspicious, if not terrified curiosity. After a while she heard me speak to one of the gentlemen who were with me. Apparently surprised and reassured by this evidence of a genuine humanity, she called to the children who were interested in examining a leopard, “Look, look, there is a black man and he speaks English.” (Blyden, “West” 363) Blyden, a West Indian-born citizen of Liberia and resident of Sierra Leone, assures his audience that such scenes were not unique for the African abroad, even at the turn of the twentieth century; seen as “an unapproachable mystery,” an African traveler like himself was “at once ‘spotted’ as a peculiar being – sui generis” who, as if by nature, “produce[d] the peculiar feelings of the foreigner at the first sight of him” (Blyden, “West” 362, 363). Keenly aware of how non-Europeans were displayed at metropolitan zoos, fairs, and exhibitions throughout the nineteenth century, Blyden puns on the leopard's spots in order to highlight his experience of being marked as an object of curiosity. Indeed, the nurse's anxious wavering between curiosity and terror dissipates not because Blyden ceases to appear marked, or “spotted,” but because the taxonomic crisis he arouses by not standing on the other side of the fence has been temporarily contained: she distances the threat of Blyden's difference as “a black man” while evading the equally threatening possibility of recognizing his sameness as one who “speaks English.” The nurse, to borrow the words of Homi Bhabha in describing the fetishism of such colonial “scenes of subjectification” (Bhabha 81), constructs the man before her as “at once an ‘other’ and yet entirely knowable and visible” in a way that attempts to “fix” Blyden's identity and the Victorian categories his appearance unsettles (Bhabha 70–71), while making the relation between differences and their appended significance appear natural (Bhabha 67). If, by expressing himself in his characteristically impeccable English in order to vindicate his “genuine humanity” (Blyden, “West” 363), Blyden appears to be “putting on the white world” at the expense of his autonomy (Fanon 36), he simultaneously wages battle in this world at the level of signification in ways that anticipate the work of the later African nationalist and West Indian emigrant, Frantz Fanon. An extensive reader and ordained minister who recognized the politics of exegesis as well as semiosis, Blyden implicitly asks his audience, “Can the Ethiopian change his skin, or the leopard his spots?” (Jeremiah 13, 23). Posing a rhetorical question that argues rather than asks, that brandishes the very texts often used against him, Blyden subtly deploys this passage typically associated with the intransience of human character in order to defy attempts at determining him entirely from without. Serving as a kind of object lesson demonstrating the need for less objectifying knowledge about Africans and their cultures, Blyden's anecdote challenged his contemporaries to further the lessons he and Mary Kingsley offered through their writing.

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Schwarz, Henry. "Texture as Substance: Reading Homi K. Bhabha Re-membering Frantz Fanon." PMLA/Publications of the Modern Language Association of America 132, no. 1 (2017): 179–85. http://dx.doi.org/10.1632/pmla.2017.132.1.179.

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[T]he idea of Man as his alienated image, not Self and Other but the “Otherness” of the self inscribed in the perverse palimpsest of colonial identity. (116)According to Isaac Julien, the director of Black Skin, White Mask, a film imagining the life of Frantz Fanon, Homi Bhabha is presented in a nonspeaking role as a colored, racialized “colonial subject” to lend “texture” to the cinematography (Interview). Unlike the eloquent postcolonial critics Stuart Hall and Françoise Vergès, who are interviewed extensively in the ilm, the mute Bhabha is a cipher, a visual trace of diference in the philosophical, cinematic, and audio montage that composes Julien's meditation on decolonization (Frantz Fanon [Director's cut]). In many ways, Julien's Fanon seems indebted to Bhabha's strong reading, against the grain of Fanon's oeuvre, in “Remembering Fanon: Self, Psyche and the Colonial Condition,” a foreword Bhabha wrote for a new British edition of Fanon's Black Skin, White Masks, published in 1986. Julien's Fanon is an interstitial igure, stitched together through multiple viewpoints and physically composed of cinematic elements juxtaposed in striking contrast to one another. He emerges from scraps of discourse cast of and reassembled, much as Bhabha's Fanon is captured in Fanon's ungrammatical utterance that betrays by ellipsis the nature of identity, which is that identity is “not”: “The Negro is not. Any more than the white man” (113). The revelation that the nature of identity is spatially split and temporally deferred-the deinition of Derridean diférance-is most truly represented in the colonial situation, where white mythologies of wholeness and authenticity are actualized as performances of power. When these mythologies are accompanied by paranoid fantasies of blackness that reveal the contradictory duplicity of white representations of the other-the simian Negro, the inscrutable Chinaman-this racial discrimination and its neurotic imagery reveal the nature of the white self and its pretense of universality: that the human is not whole and that the Enlightenment dream of self-presence is an illusion thrown up by the anxious exercise of mastery over those lesser humans, the Negroes.

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Phillips, Joan, and Robert B. Potter. "'Black skins?white masks': Postcolonial reflections on 'race', gender and second generation return migration to the Caribbean." Singapore Journal of Tropical Geography 27, no. 3 (2006): 309–25. http://dx.doi.org/10.1111/j.1467-9493.2006.00264.x.

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Gordon, Lewis R. "A Questioning Body of Laughter and Tears: Reading Black Skin, White Masks through the Cat and Mouse of Reason and a Misguided Theodicy." Parallax 8, no. 2 (2002): 10–29. http://dx.doi.org/10.1080/13534640210130395.

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Mukherjee, Ankhi. "Eco-Cosmopolitanism as Trauma Cure." Cambridge Journal of Postcolonial Literary Inquiry 6, no. 03 (2019): 411–17. http://dx.doi.org/10.1017/pli.2019.10.

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The fourth chapter of Frantz Fanon’s classic work Black Skin, White Masks, titled “The So-Called Dependency Complex of the Colonized,” is a powerful critique of Mannoni’s Prospero and Caliban: The Psychology of Colonization (1956). Born in France of Corsican parents, Dominique-Octave Mannoni had come to know the African colonial condition primarily through his ethnological work in Madagascar, where he spent twenty years. The argument of Prospero and Caliban is that colonial “situations” are the product of “misunderstanding, of mutual incomprehension.”1 The situation, Mannoni observes in the introduction, is created the very moment a white man appears in the midst of a tribe, and he goes on to elaborate on its distinctive and varied features: dominance of a majority by a minority, economic exploitation, the seemingly benign paternalism of the civilizing mission, and racism. The colonizer’s “grave lack of sociability combined with a pathological urge to dominate” gives him a “Prospero complex”2 while the colonized Malagasy, forced out of their own history, genealogy, and tradition and victimized by a failed European interpellation, develop a corresponding “dependence complex.”3 Neither inferiority nor superiority, “dependence,” Mannoni claims, is Caliban’s reliance on colonizers fostered by a sense of abandonment.

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Maldonado-Torres, Nelson. "Frantz Fanon and the decolonial turn in psychology: from modern/colonial methods to the decolonial attitude." South African Journal of Psychology 47, no. 4 (2017): 432–41. http://dx.doi.org/10.1177/0081246317737918.

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Frantz Fanon, one of the foremost theoreticians of racism, colonization, and decolonization was a psychiatrist by training who wrote about psychology, social theory, and philosophy, among other areas. In his “work in psychology” Black Skin, White Masks, Fanon declares that he will “leave methods to the botanists and mathematicians.” In the face of colonial methods and attitudes, he searches for a decolonial attitude that seeks to “build the world of you.” With the search for this attitude at its core, Fanon’s corpus makes the case for a decolonial turn in psychology that poses the primacy of attitude over method in knowledge production. In such a form, psychology becomes a decolonial transdisciplinary practice that is close to decolonized versions of other fields in the human sciences, such as philosophy, sociology, history, literature, and political theory, as well as to decolonial activism and praxis.

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Hudis, Peter. "Frantz Fanon’s Contribution to Hegelian Marxism." Critical Sociology 43, no. 6 (2015): 865–73. http://dx.doi.org/10.1177/0896920515610894.

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Although Frantz Fanon’s work has been widely read and discussed in recent years, his contributions are often abstracted from its debt to Marxist theory and Hegelian philosophy. This paper seeks to correct this by re-examining his approach to issues of recognition, identity, and self-consciousness in Black Skin, White Masks in light of contemporary issues of racism and ethnic identity. Fanon departs from Hegel in many respects, especially concerning his understanding of the nature of the ‘master/slave’ relations that are structured along racial lines. He also seeks to go beyond Marx by providing a psycho-affective as against a primarily economic analysis of exploitation and alienation. Instead of representing a departure of the dialectical tradition, however, Fanon’s insights on these and other issues represent a crucial extension and concretization of it in light of the realities of his lived experience.

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Richards, Sinan. "The Logician of Madness: Fanon's Lacan." Paragraph 44, no. 2 (2021): 214–37. http://dx.doi.org/10.3366/para.2021.0366.

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In recent years, commentators have begun to re-examine the proximity of Frantz Fanon's and Jacques Lacan's work — a proximity which has traditionally been underappreciated. This article adds to these voices, demonstrating the reciprocal intellectual relationship between these two figures. It develops five interrelated arguments to chart this proximity. First, it emphasizes Lacan's and Fanon's connections through their ontological perspectives on madness. Second, it arbitrates the two theorists’ criticisms of the limits of Western psychoanalysis. Third, it shows the importance placed by both on social structures in determining mental illnesses. Next, it demonstrates the centrality of their common understanding of psychosis. Finally, it argues that Lacan's argument in The Sinthome concerning the colonizer's power is inherited from Fanon's Black Skin, White Masks — itself influenced by Lacan's early theory of language. The article does not attempt to cast Fanon as an apprentice Lacanian but rather to argue that reciprocity helped shape both oeuvres.

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Mertania, Yanggi, and Dina Amelia. "Black Skin White Mask: Hybrid Identity of the Main Character as Depicted in Tagore's The Home and The World." Linguistics and Literature Journal 1, no. 1 (2020): 7–12. http://dx.doi.org/10.33365/llj.v1i1.233.

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This research paper describes the analysis of a literary work entitled The Home and The World by Rabindranath Tagore. This novel illustrates Tagore’s inner battle about his ideas on the Western culture and on the revolution against Western culture when India was colonized by the British. These ideas portrayed in one of the main characters, Nikhil. Tagore represents himself as Nikhil, the hybrid, who is positioned between British and Indian cultures. The main purpose of this research is to describe the hybrid identity of Nikhil as one of the main characters in the novel within the context of colonized society and the Swadeshi movement. This research applied the post-colonial approach and hybrid identity theory by Homi. K. Bhabha and also applied the descriptive qualitative method to depict the problem by using the words. Library research was applied in the context of the data collecting process. The data are dialogues and narrations about the hybrid identity of Nikhil in The Home and The World novel. Based on the research conducted, it was concluded that the impact of British colonialism led to the formation of a hybrid identity process in Indian society. First, there was a hybrid identity of Nikhil as a part of the colonized society in education, lifestyle, culture, and social aspects. The second was the hybrid identity of Nikhil in the Swadeshi movement.Keywords: Black skin white mask, colonialism, hybrid identity, post-colonial, rabindranath tagore, swadeshi movement, the home, and the world.

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Geraldo, Sheila Cabo. "O corpo negro, as marcas e o trauma." Arteriais - Revista do Programa de Pós-Gradução em Artes 3, no. 5 (2017): 133. http://dx.doi.org/10.18542/arteriais.v3i5.5361.

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ResumoO discurso pós-colonial, de acordo com as teorias desenvolvidas a partir dos anos 1970, está nas marcas deixadas nas sociedades colonizadas, as quais construíram seus processos de independência e modernidade por cima dessas marcas, na forma da violência. A modernidade é como uma máscara branca sobre a pele negra (Frantz Fanon), que só em casos de embate deixa aflorar, como imagens dialéticas, a permanência das relações escravistas recalcadas. São máscaras, impostas ou autoimpostas, que forçaram o apagamento da memória racial, muitas vezes associada ao gênero. O texto aqui apresentado procura, assim, ativar criticamente algumas imagens produzidas pela artista Rosana Paulino, sobretudo as que desenvolveu para a instalação Assentamento, cujas imagens dos corpos masculinos e femininos escravizados, enquanto imagens de discursos científicos positivistas dos novecentos, são ressignificadas pela artista como imagens-denúncia.AbstractThe postcolonial discourse, according to the theories developed since the 1970s, is on the marks left in the colonized societies, which built their processes of independence and modernity over these marks, in the form of violence. Modernity is like a white mask on the black skin (Frantz Fanon), which only in cases of clash brings out, as dialectical images, the permanence of repressed slave relations. They are masks, imposed or self-imposed, which forced the erasure of racial memory, often associated with gender. The text presented here seeks to critically activate some images produced by the artist Rosana Paulino, especially those developed for the Settlement installation, whose images of male and female enslaved bodies, as images of positivist scientific discourses of the nineteenth century, are restated by the artist as images-complaint.

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Joyson, Roshni, and Dr Cynthia Catherine Michael. "Racial Identity in Post-Apartheid South Africa: J.M. Coetzee’s Disgrace." SMART MOVES JOURNAL IJELLH 9, no. 3 (2021): 39–51. http://dx.doi.org/10.24113/ijellh.v9i3.10943.

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J.M. Coetzee is a South African novelist, critic and an active translator of Dutch and Afrikaans literature. His novels are conspicuous for their well- crafted composition, pregnant dialogues and analytical brilliance. Coetzee’s earlier novels question the apartheid regime, while his later works offer an apocalyptic vision of post- apartheid South Africa. His major works include Disgrace, Waiting for the Barbarians, Life and Times of Michael K, Boyhood, Age of Iron and The Childhood of Jesus. In 1999, Coetzee has been the recipient of numerous awards throughout his career, although he has a reputation for avoiding award ceremonies. Coetzee became the first author to be twice awarded the Booker Prize, winning it as second time for Disgrace which portrays the post-apartheid society. Coetzee went on to win the Nobel Prize for literature in 2003 for his entire body of works. During the years of apartheid, he was at the forefront of the anti-apartheid movement among writers. Scholar Isadore Dalia labelled J.M Coetzee as one of the most distinguished white writers with an anti-apartheid sentiment. Coetzee’s earlier novels question the apartheid regime, while his later works offer an apocalyptic vision of post- apartheid South Africa. Disgrace can be analyzed as a representative work of the new south Africa where the social problems relating binary oppositions such as black- white, white- immigrant, powerless- powerful, are stressed. This paper attempts to show through the protagonist, David Lurie, that the way to adapt to the changes in the country is to make a fresh start, a way to adapt to the new times, where no ideas of the old are retained. Frantz Fanon’s concepts within the field of post colonialism which he articulated in Black Skin, White Masks (1967) and The Wretched of the Earth (1963) have much relevance in Disgrace. The objective of this paper is to stretch his new ideas in a new direction by applying his theories on nation and culture onto a white subject Lurie, a white native South African. In the light of Fanon’s text, The Wretched of the Earth it can be argued that following the revolutionary political changes in South Africa in 1994, the former colonizer can be seen in the same way as the colonized usually is: a powerless native, regardless of racial identity.

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Chung, Andrew J. "Vibration, Difference, and Solidarity in the Anthropocene." Resonance 2, no. 2 (2021): 218–41. http://dx.doi.org/10.1525/res.2021.2.2.218.

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Taking the new materialist and climate change themes of Ashley Fure’s The Force of Things: an Opera for Objects as a departure point, this article examines sound studies’ recent invocations of new materialist philosophy alongside this philosophy's foundational concern toward the Anthropocene ecological crisis. I argue that new materialist sonic thought retraces new materialism’s dubious ethical program by deriving equivalencies of moral standing from logically prior ontological equivalencies of material entities and social actors rooted in their shared capacities to vibrate. Some sonic thought thus amplifies what scholars in Black and Indigenous decolonial critique have exposed as the homogenizing, assimilative character of new materialism’s superficially inclusional and optimistic ontological imaginary, which includes tendencies to obscure the ongoingness of racial inequality and settler-colonial exploitation in favor of theorizing difference as a superfice or illusion. As I argue in a sonic reading of Frantz Fanon’s Black Skin, White Masks, some of new materialism’s favored analytical and ecological terms such as objecthood, vibrationality, and connection to the Earth are also terms through which anti-Blackness, colonial desire, and the universalization of Whiteness have historically been routed. This historical amnesia in new materialism enables its powerfully obfuscating premises. As a result, I argue that new materialist sound studies and philosophy risk amplifying the Anthropocene’s similarly homogenizing rhetorics, which often propound a mythic planetary oneness while concealing racial and colonial climate inequities. If sound studies and the sonic arts are to have illuminating perspectives on the Anthropocene, they must oppose rather than affirm its homogenizing logics.

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Rugh, David J., Howard W. Braham, and Gary W. Miller. "Methods for photographic identification of bowhead whales, Balaena mysticetus." Canadian Journal of Zoology 70, no. 3 (1992): 617–24. http://dx.doi.org/10.1139/z92-090.

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Bowhead whales, Balaena mysticetus, have black skin except for patterns of white along their ventral surface and visible dorsally on their lower jaws, caudal peduncles, and flukes. White scar marks may also be present. These contrasting black and white dorsal patterns were examined in 4871 aerial photographs of bowheads taken from 1976 to 1987 to determine if individual animals could be reidentified when subsequently photographed. The objective of making such reidentifications was to provide important life-history information, such as calving intervals, length-specific growth rates, survival rates, and population abundance. This paper describes procedures developed to categorize whales into 20 file types based on the relative extent of visible white markings. Preliminary analysis of the photographic identification system suggests that it has a high potential for use in population studies but only if whale images are of sufficient quality and quantity to allow for multiple reidentifications. High-quality images are best obtained from aerial photographs taken directly above whales in clear water during good to excellent sea-state conditions without glare. This ensures that sufficient characteristic features, if present, are photographed to permit recognition in subsequent photographs.

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Rifkind, David. "Review: African Identity in Post-Apartheid Public Architecture: White Skin, Black Masks by Jonathan Alfred Noble, At Home with Apartheid: The Hidden Landscapes of Domestic Service in Johannesburg by Rebecca Ginsburg." Journal of the Society of Architectural Historians 72, no. 3 (2013): 412–14. http://dx.doi.org/10.1525/jsah.2013.72.3.412.

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Zanini, Roberta V., Iná S. Santos, Denise P. Gigante, Alicia Matijasevich, Fernando C. Barros, and Aluísio J. D. Barros. "Body composition assessment using DXA in six-year-old children: the 2004 Pelotas Birth Cohort, Rio Grande do Sul State, Brazil." Cadernos de Saúde Pública 30, no. 10 (2014): 2123–33. http://dx.doi.org/10.1590/0102-311x00153313.

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The aim of this study was to describe fat (FM) and lean body mass (LBM) in six-year-old children from the 2004 Pelotas Birth Cohort, stratified by gender. Dual-Energy X-ray Absorptiometry was used to measure FM and LBM, FM and LBM indexes, and percentage (%) of FM and LBM. Mean measures of adiposity were higher among girls (6.3kg, 4.2kg/m2 and 23.4% vs. 5kg, 3.3kg/m2 and 18%) while LBM measures were higher among boys (19.3kg, 13kg/m2 and 78.5% vs. 17.7kg, 12.2kg/m2 and 73.2%). In both boys and girls mean measures of adiposity increased with socioeconomic status and maternal education. Mean measures of adiposity were higher among white-skinned children while %LBM was higher among black-skinned children. Preterm compared to full-term children showed lower mean measures of adiposity and LBM. Female sex, white skin color and higher socioeconomic conditions are associated with higher adiposity in childhood.

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Journal articles on the topic 'Black Skin, White Masks'

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