首页> 外文学位 >Black and white and read in profile: The silhouette as race manirhetoric in Flannery O'Connor and Kara Walker.
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Black and white and read in profile: The silhouette as race manirhetoric in Flannery O'Connor and Kara Walker.

机译:黑白相间的轮廓:在弗兰纳里·奥康纳(Flannery O'Connor)和卡拉·沃克(Kara Walker)身上表现为种族讽刺剪影。

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摘要

My research project, in fulfillment of the requirements for the dissertation in Rhetorics, Communication, and Information Design, utilizes the schema or trope of the silhouette as a binding metaphor for black/white race relationships in America. Specifically, I argue that there is no better model for examining social interactions between the races than the back- and fore-grounding that is transacted through this primarily visual---but also verbal and oral---technique of profiling and outlining. This is particularly true given its origins in discriminatory practice, dating as far back as the literary iconismos and characterismos used to categorize Greek and Roman slaves, and the ethnic taxonomies perpetuated with Johann Kaspar Lavater's Essays on Physiognomy.In locating the silhouette as a major trope in the discourses on race, I am adding to the rhetorical lexicon by coining the term manirhetorical, and applying it to illustrate the unique and adaptive features of the silhouette---its suitability to operate through various media and to accommodate multiple tasks. Thus, I examine the manirhetorical practices of two artists, one primarily literary---Flannery O'Connor---whose principled positioning in the Southern gothic tradition of grotesque literature comports accurately with the sense of privilege and entitlement that is examined in a focused way in the field of Whiteness Studies. The other artist considered in this study---Kara Walker---is primarily a visual rhetorical virtuoso, whose works with the silhouette are used to both develop and demonstrate her racial and feminist ethos. Both artists perform the recuperation and re/appropriation of the silhouette as manirhetorical trope of critique in the "signifyin'" tradition described by Henry Louis Gates, Jr. Both artists make multiple uses of the silhouette as verbal and visual representations for race relations, and for their accordant power dynamics---and in the process perform racial profiling.
机译:我的研究项目是为了满足修辞学,传播学和信息设计专业的学位论文要求,利用轮廓的图式或话语作为对美国黑人/白人种族关系的绑定隐喻。特别是,我认为,没有比通过这种基本的视觉(但也包括口头和口头)描写和概述技术进行交易的背景和前景更好的模型来检验种族之间的社会互动了。鉴于其起源于歧视性实践,这一点尤其如此,其历史可以追溯到用于对希腊和罗马奴隶进行分类的文学标志主义和特征主义,以及约翰·卡斯珀·拉瓦特(Johann Kaspar Lavater)的《相貌论》中所保留的种族分类法。在关于种族的论述中,我通过修造“ manhehetorical”一词来添加到修辞词典中,并将其用于说明轮廓的独特和适应性特征-它适合通过各种媒体进行操作并适合多种任务。因此,我考察了两位艺术家的讽刺手法,其中一位主要是文学大师弗兰妮·奥康纳(Flannery O'Connor),他的原则定位在怪诞文学的南方哥特式传统中,准确地与特权和应享权利相称。白度研究领域的方法。这项研究中考虑的另一位艺术家-卡拉·沃克(Kara Walker)-主要是视觉修辞专家,他的剪影作品被用来发展和展示她的种族和女权主义精神。两位艺术家都对剪影进行调养和重新使用,这是对小亨利·路易斯·盖茨(Henry Louis Gates,Jr.)所描述的“ signifyin'”传统的批判性讽刺讽刺。两位艺术家都将剪影广泛用作种族和种族关系的语言和视觉表示,并且为他们带来一致的力量动力-并在此过程中进行种族分析。

著录项

  • 作者

    Carr, Michelle Dacus.;

  • 作者单位

    Clemson University.;

  • 授予单位 Clemson University.;
  • 学科 Black Studies.Language Rhetoric and Composition.Literature American.
  • 学位 Ph.D.
  • 年度 2010
  • 页码 204 p.
  • 总页数 204
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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