Academic literature on the topic 'Metamorphosis of black'

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.

Lernaeenicus radiatus is a pennellid copepod with a 2-host life cycle that exhibits high host-specificity to their first host, black sea bass Centropristis striata. This parasite was prevalent in the gills of black sea bass juveniles and adults along the coast of New Jersey, USA, April to December 2019. Parasite incidence was high in the summer and fall in near-shore areas and dropped significantly in fish from deep waters further off-shore in December. Heavy infections of L. radiatus occurred in gills of adult black sea bass inhabiting reef-associated structures, in which parasite incidence rate was 2-3.7 times higher than in non-structure habitat. Less host-specificity occurred in second hosts which support female metamorphosis. In total, 7 fish species were confirmed as second hosts, with the most common being Atlantic menhaden Brevoortia tyrannus and bay anchovy Anchoa mitchilli. Incidence of L. radiatus depends on host abundance and habitats that support interactions of the preferred fish hosts, which may explain the heavy infections in reef habitats. The L. radiatus anchor process in metamorphosed females was highly polymorphic, depending on tissue tropism. Parasite length varied considerably, with neck and trunk measurements of L. radiatus from adult menhaden being 2-4 times larger than those from smaller host species. Mitochondrial cytochrome oxidase c subunit I (COI) sequences demonstrated all parasites to be L. radiatus, with sequence divergence limited to 0.3%. These findings show that morphology of the metamorphosed females has poor taxonomic value, and polymorphisms instead are related to attachment site and host characteristics.

Adult Polinices pulchellus were collected from the field and held in aquaria under ambient conditions. Egg collars laid by P. pulchellus were cultured at 14°C and 20°C and larval development after hatching was documented photographically. Planktotrophic Polinices pulchellus veligers hatched from egg collars cultured at 20°C after nine to ten days and after 14 to 15 days at 14°C. Veligers spent most of their time close to the water surface and began feeding within one hour of hatching. Repeated attempts to raise larvae to metamorphic competency at 14°C were unsuccessful. Morphological changes, most notably in the colour and size of the velum and foot, were observed in larvae raised at 20°C. During the first 25 days of larval development the velum broadened and bifurcated into four velar arms, the distal regions of which acquired a deep red coloration. By day 40 the foot had increased considerably in size and the degree of black pigmentation. By day 45 pediveligers were competent to metamorphose to the juvenile stage. Exposure to sediment from the adult habitat induced metamorphosis, larvae lost their vela and became benthic juveniles. Within three days of metamorphosis, juvenile snails drilled the bivalve Lasaea adansoni (∼2 mm), later drilled Cerastoderma edule (∼4 mm), and displayed cannibalistic behaviour. Larvae survived for ∼6 months in the absence of a suitable settlement cue.

As part of his recent study of ‘Narration and allusion in Archaic Greek Art’, Professor A. M. Snodgrass has cause to treat of the famous Attic black-figure vase which depicts Circe handing a cup containing her sinister brew to one of Odysseus’ sailors. She is stirring it with her wand the while, and yet this sailor, and three companions besides, have already been transformed into various animals (or at least his head, and their heads and arms have been). Professor Snodgrass has no difficulty in explaining the apparent simultaneity of separate events here and elsewhere on this vase-painting as relating to what he calls the ‘synoptic’ technique of early Greek Art, that familiar device whereby several successive episodes in a narrative are presented together within the same picture. And he is inclined towards a similar line of explanation as regards the partial transformation of Odysseus’ ἑταῖροι: the artist ‘wished to express the passage of time by indicating a half-way stage in the transformation’.

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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
This thesis posits that the interplay of social forces of modernity engendered transformations constitutive of black interwoven plots by socio-political creation and recreation of the myth of racial democracy. The research involved the insights of race as universality inherent human relationship with equals and different. Thus, it was decided, as a research methodology, the study of bibliographic nature. And, from the understanding of intellectual fecundity of mothers who formulated the Brazilian social thought, defined as the main theoretical framework of this thesis works of Octavio Ianni and Florestan Fernandes, given the pioneering studies on race relations in Brazil, specifically on the black race. The research allowed theoretically the establishment of the following categories: race, history, class and politics. Such categories legitimize certain contradictions and call the mediation of race as constitutive of unfolding nexus of social relations conditioned by historical factors, and class policies. It is understood that the race is a logical-historical category, a social construction. Accordingly, the pair of singularities constitutive of the racial issue, so the three races, we chose to specifically study the black race, the black Brazilian constitution, transformation, dilution and historical recreation of the social forces at play. How to study and research this problem, three chapters were proposed from the split of interracial relationships and the prospect of black Brazil: "discovery / consolidation", "national identity / modernization" and "note history / founding myth". The first aims to reveal and elaborate the meaning of the past of the black race in the formation of the Brazilian people. The second chapter exposes the contradiction as race-class transition and rupture of the colonial and monarchical to the process of constitution of modern Brazil, from the metamorphosis of the nation, the social type, sociability, culture and condition of the social fabric in black . The third attempts to grasp the challenges of race-class contradiction in contemporary, through the specific term from the kaleidoscope of miscegenation with the ideology of the lack of inter-racial conflict until the contemporary state policies with positive discrimination. We conclude that the insights of the metamorphosis of black reconfigured by the myth of racial democracy is to reveal the relationships race-class. Historically, race, race condition, was set by the identity and legitimized by social mark that is the color. The class condition - belonging to a social class - was subsumed to the proclamation of democracy, citizenship, diversity. What is in question is a past-present the contradictions arising from the capital. So proclaim themselves ideals of equality in the name of ideals of a "racial identity" that affirms and resolves in appearance. The socioeconomic status became positive element insertion, social inclusion policy, which moved from place to become global determination.
Esta tese postula que o jogo das forças sociais da modernidade engendrou as transformações constitutivas do negro imbricadas pelas tramas político-sociais de criação e recriação do mito da democracia racial. A investigação envolveu o descortino da questão racial, como universalidade inerente à condição humana de relação com o outro igual e diferente. Assim, optou-se, como metodologia de pesquisa, pelo estudo de natureza bibliográfica. E, a partir da compreensão da fecundidade intelectual das matrizes que formularam o pensamento social brasileiro, definiram-se como principais referenciais teóricos desta tese as obras de Octavio Ianni e Florestan Fernandes, haja vista os estudos pioneiros sobre as relações raciais no Brasil, especificamente sobre a raça negra. A realização da pesquisa teórica permitiu, assim, estabelecer as seguintes categorias: raça, história, classe e política. Tais categorias legitimame conclamam as contradições determinadas pela mediação da raça como nexo constitutivo dos desdobramentos das relações sociais condicionadas pelas determinações históricas, de classe e das políticas. Compreende-se que a raça é uma categoria lógico-histórica, uma construção social. Nesse sentido, a par das singularidades constitutivas da questão racial, portanto, das três raças, optou-se por estudar especificamente a raça negra, o negro brasileiro em constituição, transformação, diluição e recriação histórica no jogo das forças sociais. Como estudo e investigação dessa problemática, três capítulos foram propostos a partir do desdobramento das relações inter-raciais e da perspectiva do Brasil negro: “descobrimento/consolidação”, “identidade nacional/modernização” e “reparo histórico/mito fundador”. O primeiro tem como propósito desvelar e elaborar o significado do passado da raça negra na formação do povo brasileiro. O segundo capítulo expõe a contradição raça- classe como transição e ruptura da época colonial e monárquica para o processo de constituição do Brasil moderno, proveniente da metamorfose da nação, do tipo social, da sociabilidade, da cultura e da condição do negro na trama social. O terceiro busca apreender os desafios da contradição raça-classe na contemporaneidade, por meio das especificidades conjunturais, desde o caleidoscópio da miscigenação com a ideologia da inexistência do conflito inter-racial até a contemporaneidade das políticas de Estado com a discriminação positiva. Conclui-se que o descortino da metamorfose do negro reconfigurada pelo mito da democracia racial é o desvelamento da relação raça-classe. Historicamente, a raça, a condição de raça, foi configurada e legitimada pela identidade, pela marca social que é a cor. A condição de classe – a pertença a uma classe social – ficou subsumida à proclamação da democracia, cidadania, diversidades. O que está em questão é um passado presentificado pelas contradições oriundas do capital. Assim, proclamam-se ideais de igualdade em nome de ideais de uma “identidade racial” que se afirma e se resolve na aparência. A condição socioeconômica tornou-se elemento positivo de inserção, ou seja, de inclusão social, na política, que se deslocou de lugar, tornando-se determinação mundial.

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This research tried to understand how the civilizatory patrimony of the yorubas - known as "nagôs" in Brazil make it possible to constitute the afrodescendent identities with an emancipatory sense as they respect the freedom of the differences with the valorization of the social equality. The respect to diverseness is a fundamental value among the nagôs and the candomblé, one of the main receivers of its tradition, disseminates that value mainly through the yoruba mythology. This mythology is portrayed here as part of that civilizatory patrimony and encompasses, in persona of the orixás, the search for a society in which there is space for the diversity of human types, in an equalitarian way. To understand how the original inheritance of a piece of Africa makes it possible to constitute the afrodescendent identities with a emancipatory sense, a case study was done which involves the life history of Ilícito - a rapper who demonstrates in his music to share many of the present aspects of the African legacy being studied. Among them, it is the identification with the persona of the orixás, especially with Xangô. The plot around that orixá allows us to explore a little more the subject of the respect to alteration among the nagôs. We used the theoretical-methodological approach of Antonio da Costa Ciampa as the theoretical support for this research, in whose opinion identity is a metamorphosis process in search of human emancipation
A presente pesquisa procura compreender como o patrimônio civilizatório dos iorubás - conhecidos como nagôs no Brasil - possibilita que identidades afrodescendentes se constituam com um sentido emancipatório ao respeitarem a liberdade das diferenças com a valorização da igualdade social. O respeito à alteridade é valor fundamental entre os nagôs e o candomblé, um dos grandes depositários da sua tradição, dissemina esse valor principalmente por meio da mitologia iorubana. Retratada aqui como parte desse patrimônio civilizatório, tal mitologia traz na figura dos orixás a busca de uma sociedade em que haja espaço para a diversidade dos tipos humanos, de forma igualitária. Para compreender como a herança originária de um pedaço de África possibilita que identidades afrodescendentes se constituam com um sentido emancipatório, foi realizado um estudo de caso envolvendo a história de vida de Ilícito - um rapper que, em suas músicas, demonstra compartilhar muitos dos aspectos presentes no legado africano em questão. Entre eles, está a identificação com as figuras dos orixás, especialmente com Xangô. O enredo em torno desse orixá permite-nos explorar um pouco mais a questão do respeito à alteridade presente entre os nagôs. Como suporte teórico desta pesquisa, é utilizada a abordagem teórico-metodológica de Antonio da Costa Ciampa, para quem identidade é o processo de metamorfose em busca da emancipação humana

My study examines three female Black British bildungsromane: Monica Ali’s Brick Lane, Joan Riley’s Waiting in the Twilight, and Buchi Emecheta’s Second-Class Citizen. By combining a study of a relatively established novel form with contemporary female diasporic fictions, my work looks at how gender, race and location complicate the tropes of the genre, while still adhering to many of its parameters. I explore ways in which the existential states of loneliness, isolation, and solitude faced by the female protagonists in England assist or inhibit the formation of collectivity and subjectivity. This study pays particular attention to ways that community formation and friendship, as well as work and affective labor, serve as means to find/create a sense of home in diasporic conditions, as in Brick Lane and Second-Class Citizen. I also study how a sense of community falters because of a disconnection from productive work in Waiting in the Twilight.
Department of English

Tony Bolden presents an innovative history of funk music focused on the performers, regarding them as intellectuals who fashioned a new aesthetic. Utilizing musicology, literary studies, performance studies, and African American intellectual history, Bolden explores what it means for music, or any cultural artifact, to be funky. Multitudes of African American musicians and dancers created aesthetic frameworks with artistic principles and cultural politics that proved transformative. Bolden approaches the study of funk and black musicians by examining aesthetics, poetics, cultural history, and intellectual history. The study traces the concept of funk from early blues culture to a metamorphosis into a full-fledged artistic framework and a named musical genre in the 1970s, and thereby Bolden presents an alternative reading of the blues tradition. Funk artists, like their blues relatives, tended to contest and contextualize racialized notions of blackness, sexualized notions of gender, and bourgeois notions of artistic value. Funk artists displayed contempt for the status quo and conveyed alternative stylistic concepts and social perspectives through multimedia expression. Bolden argues that on this road to cultural recognition, funk accentuated many of the qualities of black expression that had been stigmatized throughout much of American history.

During the civil rights era, Mississippi was cloaked in the hateful embrace of the Closed Society, historian James Silver’s description of the white caste system that enforced segregation and promoted the subservient treatment of blacks. Surprisingly, challenges from Mississippi’s college basketball courts brought into question the validity of the Closed Society and its unwritten law, a gentleman’s agreement that prevented college teams in the Magnolia State from playing against integrated foes. Mississippi State University was at the forefront of the battle for equality in the state with the school’s successful college basketball program. From 1959 through 1963, the Maroons won four Southeastern Conference basketball championships and created a championship dynasty in the South’s preeminent college athletic conference. However, in all four title-winning seasons, the press feverishly debated the merits of an NCAA appearance for the Maroons, culminating in Mississippi State University’s participation in the integrated 1963 National Collegiate Athletic Association’s National Championship basketball tournament. Full Court Press examines news articles, editorials, and columns published in Mississippi’s newspapers during the eight-year existence of the gentleman’s agreement, the challenges posed by Mississippi State University, and the subsequent integration of college basketball within the state. While the majority of reporters opposed any effort to integrate athletics, a segment of sports journalists, led by the charismatic Jimmie McDowell of the Jackson State Times, emerged as bold and progressive advocates for equality. Full Court Press highlights an ideological metamorphosis within the press during the Civil Rights Movement, slowly transforming from an organ that minimized the rights of blacks to an industry that weighted the plight of blacks on equal footing with their white brethren.

This chapter examines the metamorphosis of the black Huntingtonians varied responses to rising Jim Crowism during the late-nineteenth and early-twentieth centuries. Benefiting from increasing affluence, kin and augmented family networks, strong religious convictions, and education, Huntington’s black working class, in conjunction with working class blacks throughout the Ohio River Valley, engaged in a variety of tactics and strategies to progress. It contends that in building institutions, entering into the public space, and agitating for political inclusion black Huntingtonians formed the “building blocks” for self-improvement, community formation, and racial uplift. In the process, they transformed Huntington into a regional black socio-cultural hub, produced an embryonic black professional class, and further strengthened black Huntingtonians’ cultural, social, and political linkages with the region’s African American population.

This chapter examines the use of perspectival movement (or camera movement) in animation practice. In particular, it argues that the ambiguity of the out-of-field space that perspectival movement creates entails a suppression of another kind of ambiguity: the graphic ambiguity of marks on a surface. Thus, much of the history of animated space can be seen as a history of trade-offs between the possibilities of camera movement and those of graphic metamorphoses. However, two films—Norman McLaren’s Blinkity Blank (1955) and Caroline Leaf’s The Metamorphosis of Mr. Samsa (1977)—manage to combine these possibilities, creating spaces that seem to transform themselves as the camera moves through them.

In the beginning, Ovid’s depiction of Jupiter accords with the usual elegiac fare. There is a certain amount of rivalry, as Ovid fears Jupiter might steal his girl; some flippant one-upmanship, as Ovid drops Jupiter-cum-thunderbolt when his girlfriend locks her door; copious irony, as the praeceptor Amoris instructs his pupils to imitate Jupiter in perjuring themselves. Ovid particularly enjoys “correcting” his predecessor Propertius on certain points of Jovian theology. The great works written close to the time of Ovid’s exile add a bitter edge to this playfulness, revisiting elegiac scenarios with a dramatic shift in focalization. Jupiter’s rapes and the suffering they cause are a leitmotif of Ovid’s epic Metamorphoses. In the Fasti, Jupiter is subjected to complex manipulation, instructed, diminished, and reframed according to the poet’s wish-fulfilling fantasies. As Augustus transformed the Roman experience of time by modifying the calendar, so Ovid seizes control of the discourse by shaping the calendar to his own poetic ends. When the thunderbolt strikes, banishing him to the Black Sea, Ovid creates a Jovian/Augustan mythology all his own. Like the Metamorphoses and Fasti, the Tristia and Epistulae ex Ponto show two possibilities for Jupiter, yet the Tristia’s impression of the cruelly wrathful Thunderer predominates over the Ex Ponto’s possibility of revivifying rain. Most importantly, by figuring himself as the heroes and—especially—heroines persecuted by the autocratic ruler of the Olympian pantheon, Ovid defines his poetry and his very self as a work of artistically fruitful, politically hopeless opposition to the new “Jupiter.”

The movie Mr. Holland’s Opus, in its main plot and its subplot, is a thoroughly Vygotskian story. It chronicles a high-school music teacher’s metamorphosis from a detached instructor, cynical about his students’ interests and motivations, into an inspiring mentor for hundreds of young music appreciators and instrumentalists. Unable to make a living at his first love, composing, Mr. Holland turned to the professional safety net he had earned in college: his teaching credential. Reluctantly in the classroom, he drilled his students on textbook facts and conducted the school orchestra in a flat, lifeless fashion. Without a meeting of minds and a jointly constructed “zone,” teacher and students disengaged, growing further and further apart. Painfully aware of failing to “reach” his classes, Mr. Holland set aside assigned texts and musical scores one day and tried to “connect” with his students. “What kind of music do you like?” he asked. Noticing their shocked and confused expressions, he added sympathetically, “Don’t be afraid.” “Rock ‘n’ roll!” was the nearly uniform answer. Next, Mr. Holland began to build a tie between students’ current understandings and where he wanted to lead them. “What’s this?” he asked as he played a lively rock tune on the piano. The classroom came alive. For the first time, students smiled and looked alert. “‘Lovers Concerto’!” they chorused. Then Mr. Holland asked whether anyone liked the music of Johann Sebastian Bach. In the face of blank stares, he countered, “Sure you do,” as he demonstrated how “Lovers Concerto” is a variation on Bach’s “Minuet in G.” The “zone” under way, teacher and students began to extend it. “Hands were up in the air, they were answering questions. It was so much fun!” Mr. Holland reported enthusiastically to his wife that evening, in a reversal of his usual pessimistic recap of the school day. Mr. Holland discovered that teaching requires both “heart” and learning goals tailored to children’s interests, knowledge, and skills. Each is essential for building a relationship that engages the learner. Yet Mr. Holland could not transfer these basic realizations to the rearing of his own child, Col, born with a profound hearing loss.

As we have seen in chapter 3, continental crust evolved from regions of the mantle that contained higher concentrations of LIL elements than regions that underlie typical ocean basins. The most complete record of this evolutionary process is in cratons, which passed through periods of rapid crust production to times of comparative stability over intervals of several hundred million years. After the cratons became stable enough to accumulate sequences of undeformed platform sediments, they moved about the earth without being subjected to further compressive tectonic activity. Because many of the cratons are also partly covered by sediments that are unmetamorphosed or only slightly metamorphosed, they appear to have undergone very little erosion since the sediments were deposited. Thus, a craton may be considered as a large block of continental crust that has been permanently removed from the crustal recycling process. This chapter starts with a discussion of the history of cratons as interpreted from studies of the upper part of the crust. We describe the Superior craton of the Canadian shield and the Western Dharwar craton of southern India within the chapter and use appendix E for brief summaries of other typical cratons. These cratons and numerous others elsewhere developed at different times during earth history, and we look for similarities and differences that may have been caused by progressive cooling of the earth (chapter 2). This section concludes with a summary of the general evolution of cratons and the meaning of the terms “Archean” and “Proterozoic.” The following section is an investigation of processes that occurred following stabilization, all of which take place in the presence of fluids that permeate the crust. We include a summary of these fluids and their effects on anorogenic magmatism and separation of the lower and upper crust. The final section discusses the relationship between cratons and their underlying subcontinental lithospheric mantle (SCLM). Continual metasomatism and metamorphism of the SCLM after cratons develop above it apparently has not destroyed the relationship between the ages of the cratons and the concentrations of major elements in the SCLM. This provides us with an opportunity to determine whether cratons evolved from the mantle beneath them or by depletion of much larger volumes of mantle. The discussions in this chapter are based partly on information summarized in appendices B (heat flow) and D (isotopes).