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Artículos de revistas sobre el tema "Black Panther"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 31 de enero de 2023

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1

Doss, Erika. "Imaging the Panthers: Representing Black Power and Masculinity, 1960s–1990s". Prospects 23 (octubre de 1998): 483–516. http://dx.doi.org/10.1017/s0361233300006438.

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When the moviePantherpremiered in American theaters in May 1995, it introduced a whole new generation to the rhetoric and radical politics of the Black Panther Party of a quarter-century earlier. It also sparked fierce debate about Panther fact, Panther fiction, and the power of images. Former leftie David Horowitz, now the head of the neoconservative Center for Popular Culture in Los Angeles, took out an ad inDaily VarietycallingPanthera “two-hour lie.” Damning director Mario Van Peebles for glorifying the positive aspects of the black power movement — the children's breakfasts and sickle cell anemia tests the Panthers sponsored, for example — Horowitz warned that people “will die because of this film” and faxed a seven-page press release to the media condemning the Panthers as “cocaine-addicted gangsters who … committed hundreds of felonies.”

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2

Brown, Timothy E. "Black Panther". Philosophers' Magazine, n.º 81 (2018): 108–9. http://dx.doi.org/10.5840/tpm20188159.

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3

Akinwole, Tolulope. "Embodied Masculine Sovereignty, Reimagined Femininity: Implications of a Soyinkaesque Reading of Ryan Coogler’s Black Panther". Cambridge Journal of Postcolonial Literary Inquiry 7, n.º 2 (abril de 2020): 147–57. http://dx.doi.org/10.1017/pli.2019.39.

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In more ways than critics have mentioned, Ryan Coogler’s critically acclaimed Black Panther (2018) holds a vibrant conversation with Wole Soyinka’s mythopoetic orientation. But apart from Ryan Coogler’s ventriloquist reference to “The Fourth Stage,” Black Panther confers with Soyinka in many other interesting ways. In this article, I explore the mythic patterns in the movie by reading it alongside Soyinka’s densely mythic essay, “The Fourth Stage,” in order to pry the movie open for analysis. I posit that reading Ryan Coogler’s Black Panther side-by-side Soyinka’s “The Fourth Stage” amplifies the dialogic tension between violence and justice in both works, on the one hand, and exposes the strategies by which female subjectivity is reimagined in Black Panther’s radical universe, on the other hand. I also note that, in particular, Black Panther emerges from the comparative reading as somewhat inadvertently attempting a redefinition of tragedy.

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4

Prat-Guitart, Marta, David P. Onorato, James E. Hines y Madan K. Oli. "Spatiotemporal pattern of interactions between an apex predator and sympatric species". Journal of Mammalogy 101, n.º 5 (5 de octubre de 2020): 1279–88. http://dx.doi.org/10.1093/jmammal/gyaa071.

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Abstract Increases in apex predator abundance can influence the behavior of sympatric species, particularly when the available habitat and/or resources are limited. We assessed the temporal and spatiotemporal interactions between Florida panthers (Puma concolor coryi) and six focal sympatric species in South Florida, where Florida panther abundance has increased by more than 6-fold since the 1990’s. Using camera trap data, we quantified species’ diel activity patterns, temporal overlap, and time-to-encounter (i.e., time between consecutive visits of a Florida panther and a focal species and vice versa). The Florida panther and bobcat (Lynx rufus) displayed a nocturnal activity pattern; the black bear (Ursus americanus), white-tailed deer (Odocoileus virginianus), wild boar (Sus scrofa), and wild turkey (Meleagris gallopavo) were mostly diurnal; and the raccoon (Procyon lotor) was cathemeral. Prey species and black bears minimized encounters with Florida panthers by being active during the day and displaying longer time-to-encounter, whereas Florida panthers visited a site after a prey species at higher probabilities than after competitor species, and were more likely to visit an elevated site or upland habitat. Our results suggest that interactions between Florida panthers and sympatric species in our study system are driven by species-specific behavioral responses. Gaining a better understanding of the crucial interactions driving species coexistence is important for a better understanding of the structure and function of ecological communities and help manage the potential expansion of the Florida panther into Central Florida.

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5

Lubin. "Black Panther Palestine". Studies in American Jewish Literature (1981-) 35, n.º 1 (2016): 77. http://dx.doi.org/10.5325/studamerjewilite.35.1.0077.

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6

FREER, JOANNA. "Thomas Pynchon and the Black Panther Party: Revolutionary Suicide in Gravity's Rainbow". Journal of American Studies 47, n.º 1 (4 de julio de 2012): 171–88. http://dx.doi.org/10.1017/s0021875812000758.

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This article pertains to the recent upsurge of interest in the politics of Thomas Pynchon. It considers Pynchon as an author very much of the 1960s counterculture, and explores the countercultural values and ideals expressed in Gravity's Rainbow, with particular emphasis on revealing the novel's attitude to the Black Panther Party. Close textual analysis suggests Pynchon's essential respect for Huey P. Newton's concept of revolutionary suicide, and his contempt for Marxist dialectical materialism, two core elements of Panther political theory. Drawing on an analogy between the BPP and Pynchon's Schwarzkommando, an assessment is made of the novel's perspective on the part played by various factors – including the Panthers’ aggressive militancy, the rise of Eldridge Cleaver through the leadership, and the subtle influence of a logic of power influenced by scientific rationalism – in bringing about the disintegration of the Panther organization by the early 1970s. Given the similarities between the paths taken by the BPP and the wider counterculture in the late 1960s, the article considers Pynchon's commentary on the Panthers to be part of a cautionary tale for future revolutionaries fighting similar forms of oppression.

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7

McLaughlin, Richard. "Agnès Varda’s cinematic writing as political art in Black Panthers". Short Film Studies 12, n.º 1 (1 de mayo de 2022): 55–65. http://dx.doi.org/10.1386/sfs_00067_1.

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In Black Panthers, rather than identifying with or speaking for the Black Panther Party, Varda’s cinécriture ‐ her shot choices, camera movement and editing ‐ allows her to insert her commentary about the group’s revolutionary potential while the members determine themselves as subjects rather than accepting their definition by the state. Her film foregrounds the politics of social space, showing how the Panthers transform spaces of circulation like the courthouse and their neighbourhoods into spaces of contestation.

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8

Nelson, Crystal Am. "And They Started Sayin’ “Black Power!”". Feminist Media Histories 4, n.º 3 (2018): 30–48. http://dx.doi.org/10.1525/fmh.2018.4.3.30.

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This photo essay attempts to map some of the historical moments that likely influenced the birth of the black panther as an icon and hero in the worlds of both political activism and comic books. From its initial appearance in Alabama to its incarnation in Oakland, the black panther has stood the test of time and remained an index of Black power. This essay examines the births of the Lowndes County Freedom Movement, Marvel's Black Panther character, and the Black Panther Party—all in 1966. The founding of that first proves to be a seminal, highly influential moment that presaged what was to come later that year. The events described trace how community action transformed into black power–cum–panther power.

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9

Kabir, Ananya Jahanara. "Alegropolis: Wakanda and Black Panther’s Hall of Mirrors". Cambridge Journal of Postcolonial Literary Inquiry 7, n.º 2 (abril de 2020): 121–35. http://dx.doi.org/10.1017/pli.2019.41.

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The climax of the film Black Panther (directed by Ryan Coogler, 2018) shows the two heirs claiming the Black Panther’s mantle battling it out in a tunnel that is modernity's dark hull. My article teases out the complex relationship between the film’s doubled Black Panthers as a hall of mirrors, where the African American filmmaker and the assembled African and Afro-diasporic cast confront each other, their collective memories of slavery, and the complex relationship of those on the African continent to those memories. What in the structure of cinema might take us out of this hall of mirrors to a futurity beyond trauma? In answer, I offer a reading of Wakanda as “Alegropolis”: a lavish and loving cinematic creation that draws on Afro-Futurist play with temporality and technology to reinscribe this circum-Atlantic history within a planetary frame. An affiliative afro-modernity is generated thereby, which invites a global audience to share the film’s ethical and emotional concerns as what Michael Rothberg calls “implicated subjects.”

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10

Oriowo, Donna. "And Then . . . Black Panther". Journal of Black Sexuality and Relationships 4, n.º 3 (2018): 97–101. http://dx.doi.org/10.1353/bsr.2018.0006.

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11

Strong, Myron T. y K. Sean Chaplin. "Afrofuturism and Black Panther". Contexts 18, n.º 2 (mayo de 2019): 58–59. http://dx.doi.org/10.1177/1536504219854725.

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12

Gaiter, Colette. "The Art of Liberation". South Atlantic Quarterly 119, n.º 3 (1 de julio de 2020): 567–86. http://dx.doi.org/10.1215/00382876-8601422.

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This article describes an under-reported success of the Black Panther Party for Self-Defense. Through a creative team led by the party’s Minister of Culture Emory Douglas, who was also the Black Panther (BP) newspaper’s designer and main illustrator, the Panthers visualized compelling alternatives to post–Civil Rights Black assimilation in the United States. Douglas and the other artists filled the paper’s pages every week with drawings, cartoons, and posters that empowered people who were historically relegated to subservient representations in mainstream media. Douglas’s larger posters were wheat-pasted on walls in Black communities, creating advertising for psychological liberation as the struggles for complete liberation continued on several fronts. Through textual and visual analysis of BP newspapers from 1968, clear visual strategy and intentions are deconstructed in a way that illuminates the party’s more visible words and public actions and explains why their “revolutionary art” resonates into the twenty-first century.

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13

Millanzi, Riziki. "Kimoyo Beads, Multiverses and Crossovers: Establishing (Re)connection in the World of Marvel’s Black Panther". Excursions Journal 11, n.º 1 (1 de julio de 2021): 47–76. http://dx.doi.org/10.20919/exs.11.2021.274.

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In the Black Panther comics and film, literary plot devices, genre conventions and narrative choices are all used to examine issues of connection. From Vibranium and Kimoyo Beads to the interdisciplinary team of creators that established them, (re)connection is a vital part of the Black Panther universe, both inside and out. This article explores how Marvel’s Black Panther universe can be used to explore the threads of (re)connection that are present within our everyday lives. It establishes how connection takes place within contemporary social movements, such as Black Lives Matter, and considers how Black Panther represents this connection as an opportunity for facilitating change and progress.

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14

Pienaar, Elizabeth F. y Melissa M. Kreye. "Government Efforts to Protect Habitat for the Florida Panther on Private Lands". EDIS 2016, n.º 8 (6 de octubre de 2016): 5. http://dx.doi.org/10.32473/edis-uw413-2016.

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Endangered Florida panthers live and breed on state and federal lands in south Florida, but they are a wide-ranging species, and the habitat available to them on public lands is not enough for them to thrive and recover. The 2008 Panther Recovery Plan by the US Fish and Wildlife Service requires that habitat for the panther be conserved on both public and private lands throughout the state. Private rangelands in southwest and south central Florida provide important habitat and prey for the Florida panther. These lands also play a key role in conserving other native species like gopher tortoises, bob white quail, turkeys, deer, vultures, scrub jays, cranes, black bears, and bobcats. Unfortunately, these rangelands are under increasing development pressure as the human population in Florida continues to grow. Multiple policy approaches have been put in place by local, state, and federal governments to address habitat loss and secure natural resources in Florida for our panthers. This 5-page fact sheet provides a brief overview of existing regulatory and voluntary approaches to help conserve the Florida panther on private lands. Written by Elizabeth F. Pienaar and Melissa M. Kreye, and published by the Department of Wildlife Ecology and Conservation, September 2016.

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15

Gupta, P. P. "Inclusion Body Hepatitis in a Black Panther (Panthera pardus pardus)". Zentralblatt für Veterinärmedizin Reihe B 25, n.º 10 (13 de mayo de 2010): 858–60. http://dx.doi.org/10.1111/j.1439-0450.1978.tb01063.x.

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16

Gaiter, Colette. "Visualizing a Black Future: Emory Douglas and the Black Panther Party". Journal of Visual Culture 17, n.º 3 (diciembre de 2018): 299–311. http://dx.doi.org/10.1177/1470412918800007.

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In the post-Civil Rights late 1960s, the Black Panther Party (BPP) artist Emory Douglas created visual messages mirroring the US Western genre and gun culture of the time. For black people still struggling against severe oppression, Douglas’s work metaphorically armed them to defend against daily injustices. The BPP’s intrepid and carefully constructed images were compelling, but conversely, they motivated lawmakers and law enforcement officers to disrupt the organization aggressively. Decades after mainstream media vilified Douglas’s work, new generations celebrate its prescient activism and bold aesthetics. Using empathetic strategies of reflecting black communities back to themselves, Douglas visualized everyday superheroes. The gun-carrying avenger/cowboy hero archetype prevalent in Westerns did not transcend deeply embedded US racial stereotypes branding black people as inherently dangerous. Douglas helped the Panthers create visual mythology that merged fluidly with the ideas of Afrofuturism, which would develop years later as an expression of imagined liberated black futures.

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17

Zafir, Lindsay. "Queer Connections". GLQ: A Journal of Lesbian and Gay Studies 27, n.º 2 (1 de abril de 2021): 253–79. http://dx.doi.org/10.1215/10642684-8871691.

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This article examines the gay French author Jean Genet’s 1970 tour of the United States with the Black Panther Party, using Genet’s unusual relationship with the Panthers as a lens for analyzing the possibilities and pitfalls of radical coalition politics in the long sixties. I rely on mainstream and alternative media coverage of the tour, articles by Black Panthers and gay liberationists, and Genet’s own writings and interviews to argue that Genet’s connection with the Panthers provided a queer bridge between the Black Power and gay liberation movements. Their story challenges the neglect of such coalitions by historians of the decade and illuminates some of the reasons the Panthers decided to support gay liberation. At the same time, Genet distanced himself from the gay liberation movement, and his unusual connection with the Panthers highlights some of the difficulties activists faced in building and sustaining such alliances on a broad scale.

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18

Henry King, Lorraine. "Black skin as costume in Black Panther". Film, Fashion & Consumption 10, n.º 1 (1 de abril de 2021): 265–76. http://dx.doi.org/10.1386/ffc_00024_3.

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As a costume, textile and surface adornment practitioner my research focuses on how skin contributes to the reading of a costume. Black Panther’s (2018) Oscar winning costume by Ruth E. Carter conformation to whilst also breaking traditional superhero costuming tropes feeds directly into my research on reading black skin as heroic. The visual disruption to the limited and negative narratives usually embedded within black skin are subtly challenged by Carter’s use of both black primordial and superhero skin-like costumes to signify the heroic. The costuming of a black superhero and nemesis frame the black body in action away from the negative stereotypes of Bogle’s hypersexual buck. The reading of black skin as heroic underpins the practice’s explorations away from the binary of black and white skin to the many shades of brown the moniker of black represents. It is the repetition of skin as metaphor where both superhero costumed skin and primordial skin demonstrate the multiplicity between superhero, his alter-ego and Bogle’s stereotypes that form the basis of this article. Black skin as costume explores how skin colour, according to Dyer has been used to other the black body and rank it below that of the white body within postcolonial readings. Traditionally systemic racism in action films has seamlessly placed the white body and skin as inherently heroic whilst reading the equivalent black body and skin negatively. My practice explores equity of black and brown skin as strong, precious and powerful so that any costumes, textiles or surface decoration I create would read the same when placed on a black body as they would on a white body.

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19

Harris, Jessica Christina. "Revolutionary Black Nationalism: The Black Panther Party". Journal of Negro History 85, n.º 3 (julio de 2000): 162–74. http://dx.doi.org/10.2307/2649073.

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20

Harris, Jessica C. "Revolutionary Black Nationalism: The Black Panther Party". Journal of Negro History 86, n.º 3 (julio de 2001): 409–21. http://dx.doi.org/10.2307/1562458.

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21

Schulte, William y Nathaniel Frederick. "Black Panther and black agency: constructing cultural nationalism in comic books featuring Black Panther, 1973–1979". Journal of Graphic Novels and Comics 11, n.º 3 (27 de enero de 2019): 296–314. http://dx.doi.org/10.1080/21504857.2019.1569081.

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22

Bell, Herman. "On Being a Black Panther". Journal of Prisoners on Prisons 15, n.º 2 (1 de diciembre de 2007): 175–77. http://dx.doi.org/10.18192/jpp.v15i2.5354.

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23

Benash, W. Richard. "Black Panther and Blaxploitation: Intersections". Quarterly Review of Film and Video 38, n.º 1 (6 de mayo de 2020): 45–60. http://dx.doi.org/10.1080/10509208.2020.1762475.

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24

Garside, Damian. "Ryan Coogler’s film Black Panther". South African Review of Sociology 49, n.º 2 (3 de abril de 2018): 107–10. http://dx.doi.org/10.1080/21528586.2018.1532667.

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25

Hanchey, Jenna N. "Decolonizing aid in Black Panther". Review of Communication 20, n.º 3 (2 de julio de 2020): 260–68. http://dx.doi.org/10.1080/15358593.2020.1778070.

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26

Hughey, Matthew W. "Black Aesthetics and Panther Rhetoric: A Critical Decoding of Black Masculinity in The Black Panther, 1967—80". Critical Sociology 35, n.º 1 (enero de 2009): 29–56. http://dx.doi.org/10.1177/0896920508098656.

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27

Dubois, Régis. "La fin granguignolesque d’un Black Panther". Revue du Crieur N°14, n.º 3 (2019): 86. http://dx.doi.org/10.3917/crieu.014.0086.

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28

Siddons, Louise. "Red Power in the Black Panther". American Art 35, n.º 2 (1 de junio de 2021): 2–31. http://dx.doi.org/10.1086/715823.

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29

Williams, Y. "Was Thomas Jefferson a Black Panther?" OAH Magazine of History 22, n.º 3 (1 de julio de 2008): 34–38. http://dx.doi.org/10.1093/maghis/22.3.34.

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30

Jennings, Regina. "Poetry of the Black Panther Party". Journal of Black Studies 29, n.º 1 (septiembre de 1998): 106–29. http://dx.doi.org/10.1177/002193479802900107.

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31

Jeffries, Judson L. y Omari L. Dyson. "The Black Panther Jubilee: An Introduction". Journal of African American Studies 21, n.º 1 (marzo de 2017): 4–5. http://dx.doi.org/10.1007/s12111-017-9342-z.

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32

Germain, Félix. "A Black Panther in the Tropics". French Historical Studies 42, n.º 1 (1 de febrero de 2019): 127–50. http://dx.doi.org/10.1215/00161071-7205239.

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33

Johnson, Cedric. "Panther Nostalgia as History: Black against Empire: The History and Politics of the Black Panther Party". New Labor Forum 23, n.º 2 (mayo de 2014): 112–15. http://dx.doi.org/10.1177/1095796014526572.

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34

Narayan, John. "Survival pending revolution: Self-determination in the age of proto-neo-liberal globalization". Current Sociology 68, n.º 2 (27 de enero de 2020): 187–203. http://dx.doi.org/10.1177/0011392119886870.

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In 1971, the Black Panther Party (BPP) seemingly went through an ideological transformation. Between 1968 and 1970 the Party had forged strong national and international solidarity and support through a politics of revolutionary armed self-defence and a commitment to anti-imperialism. Yet, in late 1970 as the sands of both national and geo-politics shifted, and as allies, both at home and abroad, became less supportive, the Panthers found themselves on less solid ground. Black Panther leader Huey P Newton, realizing this shift in the political landscape, and the futility of attempting an armed insurgency against the state without widespread support, now steered the BPP towards the idea of ‘Survival Pending Revolution’. This saw the Panthers abandon the idea of immediate armed insurrection against the state and reorient towards a focus on their community engagement ‘survival programs’. This article argues that Newton’s orientation of the BPP away from armed insurrection and towards survival pending revolution was not simply a pragmatic choice of strategy, but rather based on a theorization of what he dubbed reactionary intercommunalism. Moreover, the article suggests that the history of neo-liberal globalization can be complicated and expanded by viewing Newton as one of the first theorists of neo-liberal globalization, and BPP survival programs as one of the first responses to the on-coming era of neo-liberalism in the US.

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35

Meng, Eana. "Photo Essay: Bringing Acupuncture to the People". Asian Medicine 16, n.º 2 (29 de octubre de 2021): 276–94. http://dx.doi.org/10.1163/15734218-12341494.

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Abstract This photo essay examines key events in the career of physician-activist Tolbert Small, a doctor for the Black Panther Party and one of the first American doctors to practice acupuncture. It features the historic 1972 Black Panther Party delegation to China where Small first learned about acupuncture, as well as the Harriet Tubman Medical Office where he incorporated acupuncture into his practice.

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36

Illner, Peer. "Who’s Calling the Emergency? The Black Panthers, Securitisation and the Question of Identity". Culture Unbound 7, n.º 3 (28 de octubre de 2015): 479–95. http://dx.doi.org/10.3384/cu.2000.1525.1572479.

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This article intervenes in a debate in cultural disaster studies that interprets disasters as objects, whose study opens up an understanding of societies’ fears, anxieties and vulnerabilities. Widening the scope of disaster studies, it proposes to view disaster not as an object but as an optics, a matrix that frames elements of social life as an emergency. Presenting the case of the American Black Panther Party for Self-Defense through a framework of security studies, the article explores the Black Panthers’ politics as a process of societal securitisation that allowed African Americans to mobilise politically by proclaiming an emergency. It traces a political trajectory that ranged from an early endorsement of revolutionary violence to the promotion of community services and casts this journey as a negotiation of the question of identity and ontological security in times of crisis. Drawing on Black studies and on stigma theory, it suggests finally, that the Panthers’ abandonment of violence represented a shift from identity-politics to an engagement with structural positionality.

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37

Glenn, Ian. "Looted treasures? Black Panther and King Solomon’s Mines". Journal of African Cinemas 13, n.º 2 (1 de diciembre de 2021): 135–45. http://dx.doi.org/10.1386/jac_00050_1.

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This article argues that Rider Haggard’s 1885 novel King Solomon’s Mines and filmed versions of it were a major influence on Ryan Coogler’s 2018 hit film Black Panther. It examines ways in which the modern film in reversing some of the plot and colonial tropes of the original nonetheless remains indebted to it and that this source helps explain some of the weaknesses and inconsistencies of the plot of Black Panther.

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38

Potorti, Mary. "Feeding Revolution: The Black Panther Party and the Politics of Food". Radical Teacher 98 (27 de febrero de 2014): 43–51. http://dx.doi.org/10.5195/rt.2014.80.

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This chapter examines the role of food in the symbolic politics and practical agenda of the Black Panther Party (BPP), founded in the late 1960s in Oakland, California. Situating hunger and the politics of food at the center of drives for racial justice, it argues that the BPP’s anti-hunger efforts and food-centered campaigns were driven by an implicit understanding of the power of food in battles over racialized definitions of personhood, a forum for both enforcing and resisting hegemonic authority. From this vantage, the Panthers and their allies in the East Bay community utilized the Party’s popular food programs, specifically its Free Breakfast for School Children Program, as staging grounds to prepare for a revolutionary overthrow of the socio-economic order. In addition to strengthening the physical bodies of African Americans to ensure their “survival pending revolution,” the food programs served a deeper organizing function by encouraging community members to come together to meet an immediate, practical need and, in doing so, to visualize themselves as part of a larger movement for change. The Panthers’ subsequent demands for consumer rights and calls for conscientious consumption (both as purchasers and eaters of food) highlighted the role of food politics in perpetuating racial injustice while demonstrating the capacity for food-related protest to challenge structures of hunger and patterns of widespread malnourishment.

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39

Zahada, Udiarni y Nur Israfyan Sofyan. "Perlocutionary Act In Black Panther Movie Script". ELITE: Journal of English Language and Literature 4, n.º 2 (13 de diciembre de 2021): 221–33. http://dx.doi.org/10.33772/elite.v4i2.1315.

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This study tries to find out the use of perlocutionary acts in the Black Panther movie script, that is, how the characters’ utterances have some particular effects on other characters. The objective of this study is to describe the type of perlocutionary act which is used in the Black Panther movie script. This study uses a qualitative descriptive design. The source of data is obtained from the Black Panther movie script containing the dialog script of the characters’ utterances. The data are collected by reading the script intensively, watching the movie several times, and identifying, selecting, and coding the data. The data are analyzed by presenting the data, describing the data, interpreting the data, and concluding the data. The results show that the four types of the perlocutionary act which is used in the Black Panther movie script can be concluded based on the speakers’ communicative act purpose that can be either understood completely or can also be misunderstood by the interlocutor. The misunderstanding feedback of the interlocutors could be seen either in not realizing or not understanding the speakers’ utterances, the interlocutors intentionally tell lies or intentionally do not want to cooperate with the hearers, or the utterances’ meaning is clarified by the third speaker. The four types of perlocutionary act, based on Qiang’s theory, consist of the first type, that is, the intention of the one who speaks was entirely comprehended by the interlocutors), the second type, that is, the intention of the speaker is not comprehended completely by the interlocutor, the third type, that is, the hearers that tell lies to the speakers or the hearers intentionally hide something from the speakers, and the fourth type, that is, the intention of speaker that is not comprehended by the interlocutors, but because of the participation of others in the interaction.

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40

Westby-Nunn, Terry. "Complications and concessions: ecofeminism in Black Panther". Image & Text, n.º 36 (5 de mayo de 2022): 1–20. http://dx.doi.org/10.17159/2617-3255/2022/n36a1.

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Ecofeminism is an interdisciplinary movement which dissects unhealthy power relations. Assessing the science fiction film Black Panther (Coogler 2018) through an ecofeminist lens offers up fruitful and complicated explorations. Ecofeminism focusses on the impacts of toxic hegemonies, and the paper evaluates representations of power in Black Panther. As the vibranium meteor gives Wakanda an advantage, vibranium functions as a speculative symbol for privilege, and the responsibilities that come with the power of privileged positioning are interrogated. An analysis of the representations of culture and nature in Black Panther potentially indicates that Wakanda is not as severed from nature as our contemporary global neoliberal culture - although, arguably, much of the imagery is idealised, and what is excluded from our view is as important as what is included. An uninvited ecofeminist observation suggests that Wakanda's isolation goes against the grain of contemporary globalised neoliberalism and posits that self-reliance and self-subsistence can be a powerful alternative force. In our neoliberal system, where deregulated global trade is driving the Anthropocene, there is potentially a lesson in Wakanda's self-sufficiency. Finally, a discussion of the heart-shaped herb reveals it to be a speculative symbol of ecofeminist connectivity through uniting humanity, nature, technology, and consciousness.

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41

Adéẹ̀kọ́, Adélékè. "Postcolonial Critique in Ryan Coogler’s Black Panther". Cambridge Journal of Postcolonial Literary Inquiry 7, n.º 2 (abril de 2020): 136–46. http://dx.doi.org/10.1017/pli.2019.36.

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The article addresses two aspects of postcolonial critique in Black Panther: first, its portrayal of the allure of grand statements in the cultivation of conspicuous and persistent self-regard in societies that wish to be recognizably independent, and second the centrality of repeatedly embodied material gestures and motions for the sustenance of enduring communal self-regard. These two prominent features of storytelling in the film, it will be argued, offer a powerful criticism of indifferent, ideology free, and barely disguised fatalism that has driven notions of freedom across the world since the collapse of the old Soviet Union. Storytelling in Black Panther enjoys global acclaim because it revivifies the life-affirming value of high stakes, unabashedly teleological grand narratives, even as it upholds the political valency of strident, non-oppositional difference.

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42

Barreto, Raquel. "Partido dos Panteras Negras, história, gênero e poder". Fronteiras & Debates 5, n.º 1 (13 de diciembre de 2018): 189. http://dx.doi.org/10.18468/fronteiras.2018v5n1.p189-191.

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43

Sen, Sudip. "The Black Panther and the monkey chant". African Identities 16, n.º 3 (3 de julio de 2018): 231–33. http://dx.doi.org/10.1080/14725843.2018.1493079.

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44

Sandarg, Robert. "Jean Genet and the Black Panther Party". Journal of Black Studies 16, n.º 3 (marzo de 1986): 269–82. http://dx.doi.org/10.1177/002193478601600303.

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45

Posada, Tim. "Afrofuturism, Power, and Marvel Comics's Black Panther". Journal of Popular Culture 52, n.º 3 (junio de 2019): 625–44. http://dx.doi.org/10.1111/jpcu.12805.

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46

STREET, JOE. "The Historiography of the Black Panther Party". Journal of American Studies 44, n.º 2 (24 de diciembre de 2009): 351–75. http://dx.doi.org/10.1017/s0021875809991320.

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This article examines forty years of historical writing on the Black Panther Party (BPP), arguing that this historiography has now reached maturity. It evaluates key publications on the BPP, splitting the historiography into three periods. The first phase, the article asserts, was dominated by accounts written by participants and observers of the BPP in action. These offered insight into the personalities of the BPP leadership but included relatively little on other BPP members. They were supplemented by a collection of friendly academic studies, a number of which emphasized the role of the FBI in precipitating the BPP's decline. The article identifies the 1994 publication of Hugh Pearson's biographical study of Huey P. Newton as the beginning of a second phase. Pearson's work, which built on a collection of accounts written by observers and right-wing writers during the first phase, precipitated an outpouring of new studies that opposed its conclusions. These works overwhelmingly focussed on individual BPP chapters and the experiences of the BPP rank and file; they were generally friendly towards the party and often appraised the BPP's actions through the 1970s. A second wave of participant accounts also emerged in this period which offered a more personal interpretation of the BPP's decline. A third period emerged in the early 2000s that abandoned the obsession with Pearson's study and focussed instead on the BPP's contribution to African American and American culture beyond its political program and violent image. The article reveals the paradox at the heart of the local approach, one which recent studies addressed in their focus on the BPP's Oakland chapter and their return to a tight chronological approach that focussed on the BPP's peak years. It concludes by noting the remaining omissions in the BPP's historical record and anticipating further studies.

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47

Collins, Sibrina N. y LaVetta Appleby. "Black Panther, Vibranium, and the Periodic Table". Journal of Chemical Education 95, n.º 7 (5 de junio de 2018): 1243–44. http://dx.doi.org/10.1021/acs.jchemed.8b00206.

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48

Abron, JoNina M. "The Legacy of the Black Panther Party". Black Scholar 17, n.º 6 (noviembre de 1986): 33–37. http://dx.doi.org/10.1080/00064246.1986.11414441.

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Rhodes, Jane. "The Black Panther Newspaper: Standard-bearer for modern black nationalism". Media History 7, n.º 2 (diciembre de 2001): 151–58. http://dx.doi.org/10.1080/13688800120092228.

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Williams, Dana M. "Black Panther Radical Factionalization and the Development of Black Anarchism". Journal of Black Studies 46, n.º 7 (8 de julio de 2015): 678–703. http://dx.doi.org/10.1177/0021934715593053.

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