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Journal articles on the topic 'Ellison, Ralph – Invisible man'

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Published: 4 June 2021

Last updated: 4 February 2022

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1

Sy, Ousseynou. "When ralph ellison unmutes the silences of history in invisible man." International journal of linguistics, literature and culture 6, no. 2 (February 6, 2020): 1–11. http://dx.doi.org/10.21744/ijllc.v6n2.851.

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This paper deals with Ellison’s ahistoriographic or counterhistory/ countermemory discourse that narrates the marginality of the African-American community. To craft his ahistoriographic discourse, Ellison uses sequels of the past, and tropes of carcerality and segregation to bring to the fore the process and politics of otherization that have set the African-American community away from linear time and progress. Ellison’s counterhistory or countermemory discourse “revises received American history by inscribing the history of Blacks in America” (252), as Greene argues. Therefore, Ellison’s ahistoriographic discourse is also a discourse of marginality that digs up the archives to rewrite the other side of suppressed and erased American history that America insulates itself within an amnesia that does not acknowledge that kind of history. As the narrator says, “only those events the recorder regards as important” (439) are archived. Ellison plays with history; he narrativizes the received American history (the official historiography), meaning that he assimilates it with mere lies or fiction.

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2

Abang, Emenyi, and Kalu, Kalu Obasi. "Vision Versus Illusion: A Symbol of Reality in Ralph Ellison’s Invisible Man." English Linguistics Research 6, no. 3 (September 4, 2017): 15. http://dx.doi.org/10.5430/elr.v6n3p15.

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Vision Versus Illusion: A Symbol of Reality in Ralph Ellison’s Invisible Man attempts to x-ray Ralph Ellison’s portrayal of the struggles and experiences of the Negro in the American society. The work examines his plot, characterization and his artistry which are all geared towards the success of the novel. The paper examines the role of these literary elements employed by Ellison to dissect the American society showing the conditions and plights of the Negro living among the whites in America. America is in the midst of chaos. Her oppression and antagonism of the Negro has resulted in a blindness that is contagious, and everybody is affected. This work attempts to unravel the state of incompatibility hinged on racism and exploitation as practiced in America against the Negroes. This has been the hallmark of literary expression of the 1960s and beyond among nations that have experienced exploitation and oppression. The nations notably include: South Africa, Kenya, Zambia, and other West African countries. These conditions have engendered literary reactions among scholars across the Globe.

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3

Sharapova, Gulshan Sharafovna, and Shaxlo Shaydulloyevna Kahharova. "The Negro Problem Of Identity And Existence In The Novel “Invisible Man” By Ralph Ellison." American Journal of Social Science and Education Innovations 03, no. 02 (February 28, 2021): 451–55. http://dx.doi.org/10.37547/tajssei/volume03issue02-71.

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This article attempts to study the Negro problem of identity and existence in the postwar American novel. The core of this study tackles the desperate quest, this man is living in a blind and racist American world, which denies his existence, and reduces him almost to a non-entity making him ever more restless, possessed and exhausted.

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4

Taylor, Jack. "Ralph Ellison as a Reader of Hegel: Ellison’s Invisible Man as Literary Phenomenology." Intertexts 19, no. 1-2 (2015): 135–54. http://dx.doi.org/10.1353/itx.2015.0008.

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5

Wasserman, Sarah. "Ralph Ellison, Chester Himes, and the Persistence of Urban Forms." PMLA/Publications of the Modern Language Association of America 135, no. 3 (May 2020): 530–45. http://dx.doi.org/10.1632/pmla.2020.135.3.530.

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This essay investigates the treatment of what I call infrastructural racism in fiction by Ralph Ellison and Chester Himes. Ellison's Invisible Man (1952) and Himes's Harlem Cycle novels (1957–69) chronicle vanishing urban objects and changing infrastructure to show that even as Harlem modernizes, the racist structures that undergird society do not. Ellison and Himes use ephemeral objects like signs, newspapers, and blueprints to encapsulate Harlem's transience and to suggest to readers that the neighborhood itself is a dynamic archive, continually changing yet resistant to overarching narratives of cultural loss or social progress. Himes and Ellison write about permanence and loss in mid-century Harlem in terms that disrupt the social realism associated with the novel of detection and the psychological realism associated with the novel of consciousness. Such a reading prompts a reconsideration of the critical categories–genre fiction and literary fiction–that have, until now, kept these two writers apart.

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6

Parrish, Timothy L. "Ralph Ellison: The Invisible Man in Philip Roth's "The Human Stain"." Contemporary Literature 45, no. 3 (2004): 421. http://dx.doi.org/10.2307/3593533.

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7

Parrish, Timothy. "Ralph Ellison: The Invisible Man in Philip Roth's The Human Stain." Contemporary Literature 45, no. 3 (2004): 421–59. http://dx.doi.org/10.1353/cli.2004.0026.

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8

Diller, C. G. "Signifying on Stowe: Ralph Ellison and the Sentimental Rhetoric of Invisible Man." Modern Language Quarterly 75, no. 4 (January 1, 2014): 487–509. http://dx.doi.org/10.1215/00267929-2796875.

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9

Meyer, Adam. "“A Basic Unity of Experience”: The Jewishness of Ralph Ellison and the Invisible Man." Prospects 25 (October 2000): 663–82. http://dx.doi.org/10.1017/s0361233300000806.

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Ralph Ellison's novel Invisible Man has elicited more than its share of critical attention ever since its first appearance in 1952. It continues to fascinate critics because, like one of its forebears, James Joyce's Ulysses, Ellison's novel contains enough material to occupy them for a very long time, no matter what their reading orientation might be. According to Crushing Strout, “Invisible Man has generated metaphysical, psychological, existential, symbolist, and folkloristic readings – all of which have their basis not only in critical fashion but in the fecundity of the novel's linguistic energy” (80). What's more, Strout's list of possible interpretive orientations doesn't begin to exhaust the fecundity of approaches one can take to the text. Ellison's novel continues to call for new ways of being read, new contexts in which to be placed so as to be better understood and appreciated.

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10

Goldstein-Shirley, David, and Eric J. Sundquist. "Cultural Contexts for Ralph Ellison's Invisible Man." MELUS 24, no. 1 (1999): 246. http://dx.doi.org/10.2307/467918.

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11

Reilly, John M., and Eric J. Sundquist. "Cultural Contexts for Ralph Ellison's Invisible Man." African American Review 31, no. 2 (1997): 342. http://dx.doi.org/10.2307/3042484.

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12

Gordon, Gerald T. "Rhetorical Strategy in Ralph Ellison's "Invisible Man"." Rocky Mountain Review of Language and Literature 41, no. 4 (1987): 199. http://dx.doi.org/10.2307/1347289.

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13

Fonteneau, Yvonne. "Ralph Ellison's Invisible Man: A Critical Reevaluation." World Literature Today 64, no. 3 (1990): 408. http://dx.doi.org/10.2307/40146632.

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14

Butler, Robert, and Lucas E. Morel. "Ralph Ellison and the Raft of Hope: A Political Companion to Invisible Man." African American Review 41, no. 4 (December 1, 2007): 820. http://dx.doi.org/10.2307/25426998.

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15

Hill, Lena M. "Ralph Ellison in Progress: From Invisible Man to Three Days Before the Shooting…" African American Review 44, no. 3 (2011): 532–34. http://dx.doi.org/10.1353/afa.2010.0029.

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16

Albrecht, James M. "Saying Yes and Saying No: Individualist Ethics in Ellison, Burke, and Emerson." PMLA/Publications of the Modern Language Association of America 114, no. 1 (January 1999): 46–63. http://dx.doi.org/10.2307/463426.

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The allusions to Emerson in Ralph Ellison's Invisible Man are usually read as a scathing indictment of Emersonian individualism. Yet even as Ellison satirizes the Emerson canonized in Lewis Mumford's The Golden Day, the career of Ellison's narrator extends a pragmatic tradition of individualism leading from Emerson through Kenneth Burke. Though often accused of ignoring tragic limits, Emerson describes the self as existing only within the material limitations of culture—and thus as always socially implicated and indebted. While Emerson claims that the pursuit of one's own most vital work is a moral end that fulfills one's social duties, Burke and Ellison demand more complex scrutiny of one's ethical connections to others. Burke insists that the social context of our individual acts requires a comic ethics of identification: we must identify with others across social conflicts and recognize how our individual acts may be identified with those conflicts. Ellison's narrator progresses toward this Burkean ethic: in his final confrontation with Mr. Norton (who has recommended Emerson to him), the narrator adopts a mode of communication that asserts the democratic connection of all Americans at the same time that it confronts the systemic discrimination that separates them.

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17

Fu, Meiling. "Black’s Survival Strategy: Tricksterism in Ralph Ellison’s Invisible Man." International Journal of Applied Linguistics and English Literature 6, no. 2 (January 4, 2017): 92. http://dx.doi.org/10.7575/10.7575/aiac.ijalel.v.6n.2p.92.

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This paper is intended to investigate tricksterism in Ralph Waldo Ellison’s Invisible Man. Through analyzing the successful tricksters and the unsuccessful tricksters, this research concludes that tricksterism is a survival strategy in the society of white supremacy, and black people have to wear the mask and trick the white people for the cause of eliminating racial discrimination.Keywords: tricksterism; Invisible Man; survival strategy; equality

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18

Amorim, Lauro Maia, and Debora Larissa Rempel. "A tradução de “Invisible Man”, de Ralph Ellison: o jogo entre racialidade e integracionismo." Cadernos de Tradução 2, no. 34 (December 4, 2014): 101. http://dx.doi.org/10.5007/2175-7968.2014v2n34p101.

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19

Blair, Sara. "Ralph Ellison and the Raft of Hope: A Political Companion to Invisible Man (review)." Modernism/modernity 13, no. 4 (2006): 781–83. http://dx.doi.org/10.1353/mod.2006.0078.

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20

Fleissner, Robert F. "H. G. Wells and Ralph Ellison: Need the Effect of One Invisible Man on Another Be Itself Invisible?" Extrapolation 33, no. 4 (January 1992): 346–50. http://dx.doi.org/10.3828/extr.1992.33.4.346.

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21

KING, RICHARD H. "The Uncreated Conscience of My Race/The Uncreated Features of His Face: The Strange Career of Ralph Ellison." Journal of American Studies 34, no. 2 (August 2000): 303–10. http://dx.doi.org/10.1017/s0021875899006404.

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Ralph Ellison's career will undoubtedly provide students of American literature and biographers much to puzzle over in the coming years. He published his first novel, Invisible Man, in 1952 when he was 38, an age when Faulkner was in the midst of his great period and just poised to publish Absalom, Absalom! After the early 1950s, Ellison published two books of essays, Shadow and Act (1964) and Going to the Territory (1986), and a few excerpts from an ever more mythical work-in-progress. That work-in-progress, or some truncated version of it, has now appeared with the intriguing title, Juneteenth, which refers to the day, 19 June 1865, when the slaves in Texas learned they were free, some two months after the end of the Civil War.Without a doubt, Ralph Ellison considered himself, above all, an American writer of the modernist persuasion; indeed, he was one of the most patriotic of writer-citizens in the republic of letters. In the late 1960s and early 1970s, he was attacked by anti-war forces for his qualified support for the Johnson administration's prosecution of the Vietnam War, and black radicals for insufficient militance about his “blackness.” Through it all, Ellison resolutely resisted the obligation to make his art explicitly political. It was precisely that which was at issue in his famous polemical exchanges with Irving Howe.Yet, Ellison's writing always was political in at least two senses. First, as he asserted in 1964 before the civil rights movement gave way to Black Power and its cultural wing, the Black Arts movement: “protest is an element of all art, though it does not necessarily take the form of speaking for a political or social program.” In other words: art was political but not in the programmatic way demanded by others, whoever they might be.

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22

Tracy, S. C. "ADAM BRADLEY. Ralph Ellison in Progress: From Invisible Man to Three Days Before the Shooting." Review of English Studies 61, no. 252 (September 30, 2010): 836–38. http://dx.doi.org/10.1093/res/hgq095.

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23

Marx, Steven. "Beyond Hibernation: Ralph Ellison's 1982 Version of Invisible Man." Black American Literature Forum 23, no. 4 (1989): 701. http://dx.doi.org/10.2307/2904097.

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24

Stéphane, Beugre Zouankouan. "Perception, visibility and invisibility in Ralph Ellison’s Invisible Man." International journal of linguistics, literature and culture 6, no. 3 (April 21, 2020): 18–35. http://dx.doi.org/10.21744/ijllc.v6n3.892.

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This study analyses three essential motifs which are perception, visibility and invisibility and how their relationships determine and legislate the interracial relationships between whites and blacks in Ralph Ellison’s novel, INVISIBLE MAN. Through insightful analysis, this paper aims to show how from a visible status in existence, the perception that white people have about black people transforms this visibility into an invisible status both in human existence and society and namely in the white American society. And also it aims to clear out how this metamorphosis of black people from visibility to invisibility at first based on white people's perception, is principally based and due to their color of skin, and to another “Blackness” of Black people or African-Americans color of skin. Creating a real problem of existence and identity for black people through the question: “do I exist?”, the refusal of such perception and invisibility constructed by racism, stereotypes, prejudices and the concept of white people superiority will oblige black people to struggle for their visibility, their true existence, their identity and recognition by white people as an equal human being.

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25

Shinn, Christopher A. "Masquerade, Magic, and Carnival in Ralph Ellison's "Invisible Man"." African American Review 36, no. 2 (2002): 243. http://dx.doi.org/10.2307/1512258.

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26

Haile, James B. "Magic and the Prestige in Ralph Ellison’s Invisible Man." Literature of the Americas, no. 5 (2018): 58–82. http://dx.doi.org/10.22455/2541-7894-2018-5-58-82.

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27

Cloutier, J. C. "The Comic Book World of Ralph Ellison's Invisible Man." Novel: A Forum on Fiction 43, no. 2 (June 1, 2010): 294–319. http://dx.doi.org/10.1215/00295132-2010-005.

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28

Bakhtiar, Siavash. "Black Skin, Red Masks: Racism, Communism and the Quest of Subjectivity in Ralph Ellison’ Invisible Man." European Journal of Social Science Education and Research 6, no. 1 (April 30, 2019): 6. http://dx.doi.org/10.26417/ejser.v6i1.p6-14.

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This essay aims at proposing a study of Ralph Ellison’s novel Invisible Man (1952), where the author focuses on the difficult journey of black intellectuals in quest for a strong black identity in post-war America. The theoretical reflection in this paper is based, in a first phase, on the philosophical and political perspectives of thinkers such as Jean-Paul Sartre, Maurice Merleau-Ponty and Frantz Fanon, whose works and debates have articulated an important source to understand the quest of subjectivity and intellectual consciousness in the 1950s, a period marked not only by the emergence of civil rights movement and the Universal Declaration of Human Rights, but also the progressive replacement of Communism by alternative emancipatory currents such as existentialism, postcolonialism and (post-) structuralism. From this discussion, the essay indicates, how (post-) Marxist thinkers, like Etienne Balibar, investigate the limits of the a priori paradigms promoted by the traditional humanistic (natural law-positive law) and communist narratives (alienation-emancipation), which lack conceptual and historical efficacy when it comes to understand and respond to new (bio-capitalist) forms of discrimination, which constantly evolve according to the epoch and the place.

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29

Habib, Munther Mohd. "Treatment of the Race-Consciousness in Ralph Ellison's Invisible Man." Asian Social Science 14, no. 1 (December 26, 2017): 48. http://dx.doi.org/10.5539/ass.v14n1p48.

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Ralph Ellison's Invisible Man portrays the plight of 'blacks' in America and is a testimony to the fact that the negroes feel disillusioned in a world which is dominated by the white oppressors. Moreover, it is my assertion in the paper that the journey of the un-named hero is a journey from innocence to awareness. The protagonist at the end comes to realize the duplicity of the whites and through his experiences has been successful to convey his individuality.

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30

Kim, Daniel Y. "Invisible Desires: Homoerotic Racism and Its Homophobic Critique in Ralph Ellison's "Invisible Man"." NOVEL: A Forum on Fiction 30, no. 3 (1997): 309. http://dx.doi.org/10.2307/1345758.

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31

Kim, Sook-He. "The Visual and Audible Aspects of Ralph Ellison's Invisible Man." New Studies of English Language & Literature 63 (February 29, 2016): 113. http://dx.doi.org/10.21087/nsell.2016.02.63.113.

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32

Muhammad, Muhammad Moustafa. "The Quest for Identity In Ralph Ellison’s The Invisible Man." مجلة کلیة الآداب . جامعة بنی سویف 1, no. 42 (March 1, 2017): 5–46. http://dx.doi.org/10.21608/jfabsu.2017.76582.

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33

Butler, Robert J. "Percival Everett's Signifying on Ralph Ellison's Invisible Man in erasure." Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée 45, no. 1 (2018): 141–52. http://dx.doi.org/10.1353/crc.2018.0009.

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34

Wilcox, Johnnie. "Black Power: Minstrelsy and Electricity in Ralph Ellison's Invisible Man." Callaloo 30, no. 4 (2008): 987–1009. http://dx.doi.org/10.1353/cal.2008.0047.

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35

Welch, Dennis, and Allison Greer. "Ralph Ellison’s Invisible Man: Secularizing the Fortunate Fall and Apocalypse." African American Review 46, no. 2-3 (2013): 363–80. http://dx.doi.org/10.1353/afa.2013.0084.

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36

Boyd, Sydney. "The Color of Sound: Hearing Timbre in Ralph Ellison's Invisible Man." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 74, no. 3 (2018): 47–64. http://dx.doi.org/10.1353/arq.2018.0015.

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37

O'Brien, Sean. "Blacking Out: Ralph Ellison's Invisible Man and the Historicity of Antiblackness." Cultural Critique 105, no. 1 (2019): 80–105. http://dx.doi.org/10.1353/cul.2019.0041.

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38

Dolinar, Brian. "Wrestling With the Left: The Making of Ralph Ellison’s Invisible Man." African American Review 44, no. 4 (2011): 721–22. http://dx.doi.org/10.1353/afa.2011.0047.

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39

Tiwari, Rajendra P. "Ellison's Invisible Man: A Journey from Invisibility to Self Definition." Tribhuvan University Journal 28, no. 1-2 (December 2, 2013): 203–16. http://dx.doi.org/10.3126/tuj.v28i1-2.26243.

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This article concerns with the causes of the loss of identity and the ways to establish the identity of the African Americans in the United States as revealed in Ralph Ellison's Invisible Man. The article contents that the sense of racial discrimination in the white and the weaknesses among the black are the causes for the suffering and establish self identity of the black as revealed by the unnamed narrator of the novel. It explores the protagonist's journey to find ways to come out of the suffering and establish self identity. It reveals how the narrator attempts to prove himself by contributing to the society as a complex individual rather than following the prescribed roles of the system of the society.

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40

Marvin, Thomas F. "Children of Legba: Musicians at the Crossroads in Ralph Ellison's Invisible Man." American Literature 68, no. 3 (September 1996): 587. http://dx.doi.org/10.2307/2928245.

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41

WANG, Xiaowei, and Ling XU. "A Study of the Theme of Initiation of Ralph Ellison’s Invisible Man." Comparative Literature: East & West 20, no. 1 (March 2014): 87–95. http://dx.doi.org/10.1080/25723618.2014.12015481.

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42

Persson, Torleif. "Ralph Ellison's Contemporaneity." Novel 53, no. 1 (May 1, 2020): 16–36. http://dx.doi.org/10.1215/00295132-8139285.

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Abstract This article begins by noting that recent debates about the relevance of Ralph Ellison's Invisible Man to contemporary American culture enact an opposition between historicism (the idea that the novel is a Jim Crow artifact) and universalism (the idea that it transcends the circumstances of its production). The author then argues that Ellison's novel models a contemporaneity that cannot be equated to either the assertion or disavowal of contemporaneousness. At the heart of this account stands the narrator's sense that he “must emerge,” which follows from his perception that he has failed to communicate the nature of his invisibility to his reader, and that his act of writing has therefore disarmed him. The article shows that the narrator's emergence—an event that is necessitated by the narrative but which the narrative, by the very logic of that necessity, cannot itself contain—constitutes the hinge between the textual temporality of his underground existence and the social temporality that abuts it. As such, it offers the possibility that these two temporalities—which may be thought of as referring to the temporality of writing and the temporality of reading, respectively—may be linked, and that this linkage could lead to forms of recognition that appear only at the limit of narrative form.

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43

Newton, Adam Zachary. "Call Me/It Ishmael: The Sound of Recognition in Call It Sleep and Invisible Man." Prospects 20 (October 1995): 361–85. http://dx.doi.org/10.1017/s0361233300006116.

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These are, respectively, the first sentence of Ralph Ellison's Invisible Man and the last sentence of Henry Roth's Call It Sleep. Each centrally keys into the title (and a governing trope) of its particular text; each locates its subject precisely. Ellison's protagonist speaks to us from within a state which he calls “hibernation”; David Schearl takes leave of his readers by entering into one – what the penultimate sentence tells us we “might as well call …sleep.” I want to read these two remarkably contiguous moments alongside each other for a moment before I proceed to a discussion of exactly what such reciprocal facing of texts might entail.

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44

O'Brien. "Blacking Out: Ralph Ellison's Invisible Man and the Historicity of Antiblackness." Cultural Critique 105 (2019): 80. http://dx.doi.org/10.5749/culturalcritique.105.2019.0080.

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45

Lamm, Kimberly. "Visuality and Black Masculinity in Ralph Ellison's Invisible Man and Romare Bearden's Photomontages." Callaloo 26, no. 3 (2003): 813–35. http://dx.doi.org/10.1353/cal.2003.0094.

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46

Spaulding, A. Timothy. "Embracing Chaos in Narrative Form: The Bebop Aesthetic and Ralph Ellison's Invisible Man." Callaloo 27, no. 2 (2004): 481–501. http://dx.doi.org/10.1353/cal.2004.0089.

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47

Goodison, Camille. "Re-visioning Ralph Ellison’s Invisible Man for a Class of Urban Immigrant Youth." CEA Critic 81, no. 2 (2019): 117–29. http://dx.doi.org/10.1353/cea.2019.0016.

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48

Azumurana, SO. "Racism, Invisibility, and the Alienation of the African American in Ralph Ellison’s Invisible Man." UJAH: Unizik Journal of Arts and Humanities 15, no. 1 (November 10, 2014): 219. http://dx.doi.org/10.4314/ujah.v15i1.10.

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49

Colson, Dan. "Wrestling with the Left: The Making of Ralph Ellison's Invisible Man (review)." MFS Modern Fiction Studies 58, no. 1 (2012): 161–64. http://dx.doi.org/10.1353/mfs.2012.0018.

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50

Campbell, J. B. "The Schizophrenic Solution: Dialectics of Neurosis and Anti-psychiatric Animus in Ralph Ellison's Invisible Man." Novel: A Forum on Fiction 43, no. 3 (September 1, 2010): 443–65. http://dx.doi.org/10.1215/00295132-2010-024.

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