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Dissertations / Theses on the topic 'Blackness'

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Published: 4 June 2021
Last updated: 9 March 2023

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1

I'Anson, Chioke A. M. "Otherness and Blackness." [Tampa, Fla.] : University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000207.

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2

Geller, Peter. "Making Blackness, Making Policy." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10463.

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Too often the acknowledgment that race is a social construction ignores exactly how this construction occurs. By illuminating the way in which the category of blackness and black individuals are made, we can better see how race matters in America. Antidiscrimination policy, social science research, and the state's support of its citizens can all be improved by an accurate and concrete definition of blackness. Making Blackness, Making Policy argues that blackness and black people are literally made rather than discovered. The social construction of blackness involves the naming of individuals as black, and the subsequent interaction between this naming and racial projects. The process of naming involves an intersubjective dialogue in which racial self-identification and ascription by others lead to a consensus on an individual's race. These third parties include an individual's community, the media, and, crucially, the state. Following Ian Hacking, this process is most properly termed the dynamic nominalism of blackness. My dissertation uses analytic philosophy, qualitative and quantitative research, and historical analysis to defend this conception. The dynamic nominalist process is illustrated through the media's contribution to the making of Barack Obama's blackness, and the state's creation and maintenance of racial categories through law, policy, and enumeration. I then argue that the state's dominant role in creating blackness, and the vital role that a black identity plays in millions' sense of self, requires the United States Government to support a politics of recognition. The state's antidiscrimination efforts would also improve through the adoption of a dynamic nominalism of blackness. Replacing the Equal Employment Opportunities Commission's inconsistent and contradictory definitions of race with the dynamic nominalism of blackness would clarify when and how racial discrimination occurs.
African and African American Studies
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3

Restrepo, Eduardo Escobar Arturo. "Eventalizing blackness in Colombia." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,2389.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2009.
Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Anthropology." Discipline: Anthropology; Department/School: Anthropology.
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4

Christian, Warren E. Stone Lynda. "Acting white, blackness, and education." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2214.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.
Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the School of Education." Discipline: Education; Department/School: Education.
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5

Gordon, Doreen Joy. "Blackness and social mobility in Salvador, Brazil." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508633.

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6

Linscott, Charles P. "Sonic Overlook: Blackness between Sound and Image." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1438950059.

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7

Hackenesch, Silke [Verfasser]. "Chocolate and Blackness : A Cultural History / Silke Hackenesch." Frankfurt am Main : Campus Verlag, 2017. http://www.campus.de/home/.

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8

Palmer, Lisa Amanda. "The politics of loving blackness in the UK." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1508/.

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Can ‘loving blackness’ become a new discourse for anti-racism in the UK and the broader black diaspora? This thesis will critically assess the concept of ‘loving blackness as political resistance’ as outlined by the African American feminist bell hooks (1992). The thesis will show the ways in which blackness has been both negated and denigrated in western cultures and thus constructed in opposition to notions of love and humanness. Conversely, love and blackness are also rehabilitated in different ways by Black diasporic populations in Britain through the transnational space. The transnational space can provide opportunities for constructing, networks of care, love and anti racist strategies that affirm the value of blackness and Black life. However, the transnational space can also be fraught with risks, dangers and exclusions providing Black and migrant populations with uneven forms of citizenship and belonging to western neo-liberal states. Loving blackness within a transnational context can help to create a dynamic space to affirm blackness against racial exclusions and dominations whilst providing a lens to suggest alternative ways of being human.
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9

Hughes, Camryn E. "Postmodern Blackness: Writing Melanin Against a White Backdrop." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619188755992646.

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10

Moshoadiba, Monethi William. "Being black and gay : ontological blackness and gayness." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/67819.

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11

Anderson, Mark David. "Garifuna kids : blackness, modernity, and tradition in Honduras /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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12

Roberts, Nicole S. "The Hispanic Caribbean : unity and diversity; a comparative study of the contemporary Black poetry of Cuba, Puerto Rico and the Dominican Republic." Thesis, University of Birmingham, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247771.

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13

Dawson, Allan Charles 1973. "In light of Africa : globalising blackness in northeast Brazil." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115597.

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Africa, as both a place and as an idea, looms large in the construction of Black identity in Brazil and plays an increasingly important role in the identity processes of many Afro-American societies. Consequently, this dissertation seeks to explore how the idea of Africa is used and manipulated in the discourse and formulation of Blackness in the northeastern Brazilian state Bahia. Today, Afro-Brazilian elites and academics---particularly anthropologists---privilege the cultures of the Bight of Benin as crucial markers of a new Black identity in Black Bahia's religious spaces, cultural institutions and social movements. This new form of Black identity seeks to reject the dominant ideology of 'racial democracy' in Brazil and replace it with one that articulates an Africanised approach to Blackness. In this model, Yoruba religious practices are emphasised and placed at the centre of an array of cultural forms including carnaval, Afro-Brazilian religion, language instruction, culinary practice and the remnant maroon communities of the Bahian interior. In analysing these movements, the present work eschews the need to define Afro-Brazilian cultural practices in the historical context of a plantation society that contained so-called 'survivals' of African culture. Rather, this work adopts a perspective that simply attempts to understand how ideas such as 'Africa', 'slave', 'roots', 'orixa', 'Yoruba' and other, similar African concepts are deployed in the creation of Bahian, and more generally, Brazilian Blackness. Further, the construction of Africanised Blackness in Bahia needs to be understood in the context of an ongoing live dialogue between the cultures and peoples of Afro-America and different regions of the African continent. This dissertation explores this dialogue and also investigates the extent to which these redefinitions actually resonate and penetrate the diverse Black populations of Bahia, including those that are not actively involved with Bahia's Black movements, such as evangelical Christians and residents of the impoverished Bahian interior---the sertao.
Keywords: Africa, Bahia, Blackness, Brazil, dialogue, elites, ethnography, identity, Yoruba.
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14

Tao, Lan. "Impact of blackness preference and perception on product design." Thesis, University of Leeds, 2013. http://etheses.whiterose.ac.uk/5498/.

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This study investigates our perception of, and preference for, blackness and specifically explores the influence of different cultural backgrounds (notably nationality and gender). Despite black being an important colour it has been studied relatively little compared with, for example, whiteness. Two major questions were considered: whether observers prefer one black to another (blackness preference); and whether observers consider one black sample to be blacker than another (blackness perception). Psychophysical experiments were carried out using paired comparison and ranking methods for male and female observers from UK and China. Blackness perception was found to be invariant to the cultural background of the observer. Whereas the cultural effect was found for the blackness preference results. Male observers preferred darker blacks with a greenish-blue hue whereas female observers preferred lighter blacks with a reddish-blue hue. Differences between the nationality groups were a little less pronounced but Chinese observers (like females) preferred lighter reddish-blue blacks whereas UK observers (like males) preferred darker greenish-­blue blacks. These results are potentially very valuable to designers who may wish to select a black for a product that will be most preferred. This work suggests that different blacks may be optimal for products intended for a mainly male or female audience. However, to what extent can the results from a psychophysical study carried out using abstract coloured squares displayed on a computer be extended to the very practical problem of product design where context may be powerful? This is the third question that was addressed in this thesis. An iPhone product was simulated on-screen using 3-D software and where the colour was varied. Observers were again asked about their blackness preference and perception. The results from the simulation study were almost entirely consistent with those from the earlier work which suggests that the findings from this thesis might have wide applicability to design.
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15

Meadows, Kathy Nicole. "Authenticity and Blackness: Defining the Conflict in "Tar Baby"." W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1539624389.

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16

Redmon, Shanise. "HAPTIC HAPPENINGS: AN EXPLORATION OF SOUND, QUIET AND BLACKNESS." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/532222.

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African American Studies
M.A.
This research analyzes the lives and works of Black visual artists and filmmakers as visual representations of haptic events. This thesis examines how the lives of the artists and specific works of art are entangled with sound and quiet and directly reflect and shape the complexities black interiority. The possibilities of the black interior expand when the senses are combined and how the utilization of that synthesis centers the interior lives, ideas and art of black people. Centering the interior life creates space for the humanity of black people to be fully realized and explored without disruption both individually and collectively. Artists Jean-Michel Basquiat, David Hammons, Nick Cave and filmmakers Arthur Jafa and Kahlil Joseph’s work is used to illustrate how a haptic event is formed, how the haptic event effects both the artist and the audience and how the outcome of the haptic informs the present moment and often surpass the confines of language. This project extends the concept of Hapticality and the futurity of black interior life as a site of reflection, expression and resistance.
Temple University--Theses
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17

Baldan, Federico <1993&gt. "The Evolution of Blackness: From Shakespeare to Stan Lee." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10705.

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The visual representation of black Africans by European and American artists and writers has been undergoing continuous changes, as it was affected by the evolving context and ideas regarding Africa and its inhabitants. The portrayals of black Africans, both in art and literature, reflected the prejudices and stereotypes which were present in the artists’ societies, so that an analysis of their works might provide interesting insights on how Europeans and Americans perceived the “other”. On the other hand, literary and artistic works produced by African themselves would present different interpretations of their own identities and they were their means of self-assertion; as a matter of fact, literature and art would allow them to express their feelings independently. The aim of this thesis is to explore how black Africans have been portrayed in different manners from the seventeenth century, when the contact between different culture caused Africans to appear more frequently in the imaginary of Europeans, to the twentieth century, when the developing of new literary mediums as comic books allowed to unify art and literature. It will take into consideration different themes as race and identity, trying to understand how they changed through the centuries.
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18

Laidlaw, Andrew. "Blackness in the absence of blackness : white appropriations of Rap Music and Hip-Hop Culture in Newcastle upon Tyne - explaining a cultural shift." Thesis, Loughborough University, 2011. https://dspace.lboro.ac.uk/2134/8389.

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In this study I am concerned to discover how and why local youth in Newcastle upon Tyne are appropriating black culture, in the absence of a local black population to act as a reference guide. In doing so, I provide a new approach to the analysis and interpretation of white identity in a globalised world. Central to this approach is the focus on new ethnicities where the local is fused with the global in order to create identities free of the radical underpinning of whiteness and Englishness. Thus, I argue, these identities are truly hybrid in nature, and can neither be labelled white, or black, as they are in equal parts influenced by Geordie and African-American cultures. I highlight this further by showing that this syncretisation and blending of cultures has been occurring in the North East of England for over forty years. The study is divided into two parts. The first begins with a substantive literature review of critical reflections on white appropriations. I then define hip-hop and rap, trace their origins, and beyond that analyse their antecedents. I also take a critical look at my location of study in terms of its social deprivation and struggle with post-industrialism, and introduce the techniques behind my fieldwork. In the second part I present an extended ethnography. During the course of four separate fieldwork chapters, I consider varying aspects behind these white appropriations, in terms of local sensibilities and cultural affiliations, cultural isolation and long distance black bonding, the denial of race and the need for authenticity, in the context of this specific urban setting. The thesis concludes with a summary of the information gleaned from my fieldwork.
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19

Davies, John E. "The Sellout by Paul Beatty: "Unmitigated Blackness" in Obama's America." Cleveland State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=csu1548237196818938.

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20

Morgan, Letisha Yvonne. "Representing blackness : MOVE, the media, and the city of Philadelphia." Thesis, University of Warwick, 2004. http://wrap.warwick.ac.uk/78794/.

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In recent decades, black American political scholars have addressed the absence of trans formative societal change in the wake of the Civil Rights Movement. The civil rights initiatives of the 1960s and 1970s pledged racial equality and economic redistribution resulting from equitable, formal, political participation. For many, this promise remains unfulfilled. This thesis asserts that part of the problematic relates to a lack oftheorisation regarding differentiation within the black 'community.' Specifically, it is concerned with a group of black activists in Philadelphia, Pennsylvania called MOVE, and the manner in which its emergence complicated a unitary conception of black community in the 1980s. Formed on the cusp of the Reagan revolution, which signalled a retrenchment of civil rights initiatives nationally, combined with the election of a new cadre of black politicians at the municipallevel-incIuding Philadelphia, MOVE signifies the tenuous position in which these politicians found themselves during the Reagan era. Thus, Philadelphia's first black American mayor, W. Wilson Goode, occupies a central role in understanding the conflicting demands with which this new crop of municipal officials had to contend during this politically volatile time period. Disabled from the task of simply performing their required duties, these men and women were the most accessible representatives of America's 'black community,' and thus embodied the most positive as well as the most negative aspects of the black American population. Therefore, their job description implicitly referenced their capacity to juggle the demands of being black in America. This thesis will also investigate MOVE's representation in the print news media, as it received extensive coverage in the Philadelphia press. Through an analysis of three separate, local newspapers, this study attends to the racialised discourses characterising the group, thereby revealing a state of general anxiety regarding the place of blacks in American society. In this, a consideration of the media's impact upon Mayor Wilson Goode's career becomes a necessity, as the public's perception of his political suitability became inextricably linked with the fate of the MOVE members. Therefore, I attempt to determine how MOVE became 'news,' and in tum, how the group and officials in Philadelphia's city administration succeeded in mobilising the media as a resource for their own ends. Considering MOVE's informal political strategies in tandem with the bureaucracy of formal municipal politics presents an opportunity to address the limitations of both electoral and cultural politics for the black population generally, as well as the persistent problem of political 'representation' within this context. This thesis contributes to knowledge in black American cultural and electoral politics; social movements; the 'Sociology of the Negro' sub-discipline; the media and its role in conceptualising and coping with racial difference; and theories of blackness, liberalism and multiculturalism.
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21

Hobson, Janell. "Venus in the dark : blackness and beauty in popular culture /." New York : Routledge, 2005. http://catalogue.bnf.fr/ark:/12148/cb40055102p.

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22

Webb, Brittany. "Materializing Blackness: The Politics and Production of African Diasporic Heritage." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/504409.

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Anthropology
Ph.D.
"Materializing Blackness: The Politics and Production of African Diasporic Heritage” examines how intellectual and civic histories collide with the larger trends in the arts and culture sector and the local political economy to produce exhibitions at the African American Museum in Philadelphia (AAMP) and structure the work that museum exhibitions do to produce race visually for various audiences. Black museums are engaged in the social construction of race through their exhibitions and programs: selecting historical facts, objects and practices, and designating them as heritage for and to their audiences. In tracking this work, I am interested in 1) the assemblages of exhibits that are produced, as a function of 2) the internal logics of the producing institutions and 3) larger forces that structure the field as a whole. Looking at exhibits that engage Blackness, I examine how heritage institutions use art and artifacts to visually produce race, how their audiences consume it, and how the industry itself is produced as a viable consumptive market. Undergirded by the ways anthropologists of race and ethnicity have been explored and historicized race as a social construction I focus on an instantiation of the ways race is constructed in real time in the museum. This project engages deeply with inquiries about the social construction of race and Blackness, such as: how is Blackness rendered coherent by the art and artifacts in exhibitions? How are these visual displays of race a function of the museums that produce them and political economy of the field of arts and culture? Attending to the visual, intellectual, and political economic histories of networks of exhibiting institutions and based on ethnographic fieldwork in and on museums and other exhibiting institutions, this dissertation contextualizes and traces the production and circulation of the art and artifacts that produce the exhibitions and the museum itself as a way to provide a contemporary concrete answer. Overall “Materializing Blackness” makes the case for history and political economy as ghosts of production that have an outsized impact on what we see on exhibition walls, and are as important to the visual work as a result. Further it takes the Black museum as a site of anthropological engagement as a way to see the conjuncture of the aesthetic and the political, the historical and the material in one complicated node of institution building and racecraft in the neoliberal city.
Temple University--Theses
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23

Triestino, Lina <1955&gt. "The Sense of Blackness in August Wilson's The Piano Lesson." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/2858.

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24

Cho, Yoon Ji. "The new colour scales based on saturation, vividness, blackness and whiteness." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/10079/.

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This research project has two goals. One is to understand the third dimension of colour scales describing the extent of chromatic contents such as saturation, vividness, chromaticness and colourfulness, which are less widely used than the other dimensions, e.g. lightness and hue. With that in mind, the first aim of this work is to derive new models that may serve as an alternative to the third-dimension scale of colour appearance on the basis of colorimetric values. The second goal is to develop important scales, blackness and whiteness. They are widely used because of the popularity of the NCS system. To achieve the first goal, a psychophysical experiment for scaling 15 attributes (Korean corresponding words of “bright”, “light-heavy”, “active-passive”, “fresh-stale”, “clean-dirty”, “clear”, “boring”, “natural-not natural”, “warm-cool”, “intense-weak”, “saturated”, “vivid-dull”, “distinct-indistinct”, “full-thin” and “striking”) using the NCS colour samples was carried out with Korean observers. Each sample was presented in a viewing cabinet in a darkened room. Naive observers were asked to scale each sample using a categorical judgement method. From the results, two scales widely used to represent the third dimension were identified: saturation and vividness. The same samples were assessed by British observers using these two scales. There was a great similarity between the results of the British and Korean observers. Subsequently, more samples were included to scale not only the new third dimension scales (saturation and vividness) but also whiteness and blackness scales. In total, 120 samples were scaled for saturation, vividness and whiteness experiments, and 110 samples were scaled for a blackness experiment. Four sets of models were developed for each of the three colour spaces (CIELAB, CIECAM02 and CAM02-UCS). Type one was based on the ellipsoid equation. Type two was based on the hue-dependent model proposed by Adams (called “the hue-based model”). Each of the above two types was used to fit the present experimental (Cho) data and the NCS data, which were measured using a spectrophotometer. In total, 39 models were developed. The newly developed models were tested using the Cho and NCS datasets. The models that were based on the present visual data were tested using the NCS data. Similarly, the models developed from the NCS data were tested using the present visual data. The results showed that both types of models predicted visual data well. This means that the two sets of data showed good agreement. It is also proposed that the four scales (saturation, vividness, blackness and whiteness) based on CIECAM02 developed here are highly reliable.
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Walmsley, Emily. "Blackness and belonging : race, representations and embodiment in an Ecuadorian city." Thesis, University of Manchester, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549170.

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26

Hesse, Barnor. "Signs of blackness : racialized governmentality and the politics of black diaspora." Thesis, University of Essex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243354.

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27

Schereka, Wilton. "Sonic Afrofuturism: Blackness, electronic music production and visions of the future." University of the Western Cape, 2018. http://hdl.handle.net/11394/6548.

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Magister Artium - MA
This thesis is an exploration and analysis of the ways in which we might use varying forms of Black thought, theory, and art to think Blackness anew. For this purpose I work with electronic music from Nigeria and Detroit between 1976 and 1993, as well as with works of science fiction by W.E.B. Du Bois, Samuel Delany, Ralph Ellison, and Octavia Butler. Through a conceptual framework provided by theorists such as Fred Moten and Kodwo Eshun and the philosophical work of Afrofuturists like Delany, Ellison, Butler, and Du Bois, I explore the outer limits of what is possible when doing away with a canon of philosophy that predetermines our thinking of Blackness. This exploration also takes me to the possible depths of what this disavowal of a canon might mean and how we work with sound, the aural, and the sonic in rethinking the figuring of Blackness. This thesis is also be woven together by the theory of the Black Radical Tradition – following Cedric Robinson and Fred Moten specifically. At the centre of this thesis, and radiating outwards, is the assertion that a set of texts developed for a University of the West – Occidental philosophy as I refer to it in the thesis – is wholly insufficient in attempting to become attuned to the possibilities of Blackness. The thesis, finally, is a critique of ethnomusicology and its necessity for a native object, as well as sound studies, which fails to conceptualise any semblance of Black noise.
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Albert, Wanelisa Geraldin. "A qualitative exploration of blackness among black South African university students." Master's thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/29459.

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Since the fall of Apartheid, the new mandate of the democratic South African government has been to provide equal quality education for all and to desegregate the education system in South Africa. The desegregation of tertiary education afforded Black students the opportunity to navigate different campuses with vast institutional origins and cultures. This qualitative study aimed to explore Black students' experiences of Blackness while navigating two university campuses in the Western Cape. Drawing upon Black Consciousness and Double Consciousness as the theoretical frameworks, this study examined the experiences and perceptions of Blackness of 20 Black male and female students from two Universities in the Western Cape Province. The aim was to gauge the participants’ sense and understanding of Blackness and how it is shaped and reshaped as they navigate the university space. First, the findings revealed that that Black students exhibited racial pride and ascribed positive traits to Blackness. The students were proud to be Black and asserted that Black people had a good work ethic. Students reported that being Black afforded them an opportunity to change their socio-economic circumstances and improve their communities. Second, Black students who navigated historically White neighbourhoods, schools and university experienced South Africa as untransformed and unequal. On the other hand, Black students who navigated historically Black neighbourhoods, who went to historically Black schools and who attended a majority Black University viewed South Africa as a Rainbow Nation. Black students who attended a historically White university had a heightened sense of Blackness and experienced marginalisation within the university context compared to the Black students who went to a majority Black university Third, universities are not neutral spaces and their historical origins characterise their institutional cultures and the academy. Black students who attended the university founded during colonialism reported that the campus had colonial symbolism and the culture of the university favoured White students. The students reported that the curriculum was Eurocentric and needed to be decolonized. Fourth, Blackness is shaped and reshaped differently on university campuses. Students who went to a majority Black university expressed they were in the majority and the university was a comfortable environment. Black students at both universities experienced racial discrimination and alienation from White and/or Coloured academic staff. Despite progressive policies, this study revealed that much more work need still needs to be done to right the wrongs of the past.
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Sunami, April J. "Transforming "blackness" "post-black" and contemporary hip-hop in visual culture /." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1219161375.

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Miller, Benjamin Ian English Media &amp Performing Arts Faculty of Arts &amp Social Sciences UNSW. "The Fantasy of Whiteness: Blackness and Aboriginality in American and Australian Culture." Awarded By:University of New South Wales. English, Media, & Performing Arts, 2009. http://handle.unsw.edu.au/1959.4/44584.

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This dissertation argues that a fantasy of white authority was articulated and disseminated through the representations of blackness and Aboriginality in nineteenth-century American and Australian theatre, and that this fantasy influenced the representation of Aboriginality in twentieth-century Australian culture. The fantasy of whiteness refers to the habitually enacted and environmentally entrenched assumption that white people can and should superintend the cultural representation of Otherness. This argument is presented in three parts. Part One examines the complex ways in which white anxieties and concerns were expressed through discourses of blackness in nineteenth-century American blackface entertainment. Part Two examines the various transnational discursive connections enabled by American and Australian blackface entertainments in Australia during the nineteenth century. Part Three examines the legacy of nineteenth-century blackface entertainment in twentieth-century Australian culture. Overall, this dissertation investigates some of the fragmentary histories and stories about Otherness that coalesce within Australian culture. This examination suggests that representations of Aboriginality in Australian culture are influenced and manipulated by whiteness in ways that seek to entrench and protect white cultural authority. Even today, a phantasmal whiteness is often present within cultural representations of Aboriginality.
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Tupper, Denise. "My Family of Women: Celebrating Blackness and Exploring Themes of Black Feminism." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/182.

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This paper maps themes (e.g. family, beauty, femininity, gender, blackness, representation) and artists from the Black arts and Feminist art movement who have been very influential when planning this senior art project. I specifically look at the works of Black feminist artists such as Betye Saar, Faith Ringgold, Carrie Mae Weems, Kara Walker, and Mickalene Thomas who navigate themes from both movements. In my project I have painted a series of interpretive acrylic portraits of close friends and family members, all adapted from photographs.
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Eldridge, Jr Reginald. "Shifting Blackness: How the Arts Revolutionize Black Identity in the Postmodern West." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3087.

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The contemporary experiences of racially marginalized people in the West are affected deeply by the hegemonic capitalist Orthodox cultural codes, or episteme, in which blackness operates as the symbol of Chaos. As it relates to people of African descent, these affects are marked by a denial of the black person's full status as an unproblematic subject, by ontological voids arising from the practice of enslavement over the past centuries, and by problems of representation within the West, where examples and points of reference for black identity are always tied up with conflicting interests. Utilizing Sylvia Wynter's model of the Ceremony as one means of describing the ways in which blacks in the West maneuver the extant psychological and philosophical perils of race in the Western world, I argue that the history of black responses to the West's ontological violence is alive and well, particularly in art forms like spoken word, where the power to define/name oneself is of paramount importance. Focusing on how art shaped black responses to ontologically debilitating circumstances, I argue that there has always existed a model for liberation within African American culture and tradition. This work takes an approach that is philosophical and theoretical in nature in order to address the wide breadth of the black experience that lies beyond the realm of statistics. The goal of this approach is to continue the work of unraveling hidden or under-discussed aspects of the black experience in order to more clearly find possibilities for addressing problems in the construction of race and marginalized people within the Western episteme. This work attempts to redefine the struggle for a healthier ontology within the framework of a process of liberation that transcends Orthodox limitations on the marginalized subject.
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Monville-De, Cecco Bénédicte. "John Edgar Wideman : une phénoménologie de l'être noir (A Phenomenology of Blackness)." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0490.

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Si la réussite sociale exceptionnelle de John Edgar Wideman participe du schéma narratif canonique de la success story à l'américaine, elle fut dès le début minée par le statut minoritaire du héros. C'est à travers sa rupture avec l'institution et ses modes d'écriture, et une critique de la société américaine que l'écrivain affirme une démarche créatrice qui lui vaudra d'occuper une position centrale au sein des champs littéraire et intellectuel. Et ce, bien qu'une série de contraintes tendent, au contraire, à relativiser et marginaliser sa position. Dès lors, poser la question de l'exceptionnalité du destin de John Edgar Wide revenait non seulement à poser la question de l'émergence et de l'institutionnalisation de la figure de l'écrivain et, plus précisément, de l'écrivain africain américain, de la relation entre les champs littéraire et intellectuel et celui du pouvoir mais aussi de la condition noire dans la société étasunienne. En effet, comme en témoignent les destins de l'écrivain et de sa famille, dont il fera la matière de nombreux essais et fictions, le discrédit ou l'humiliation sociale et politique que constitue l'expérience historique de domination racialisée, sont sans cesse réactualisés par les rapports de domination du monde contemporain et leur violence symbolique détermine les dispositions des individus. L'essentiel de cette thèse a été consacré à la tentative d'objectiver l'acte de création et comprendre, à travers l'examen de la situation spécifique de l'écrivain, quelles furent les conditions de possibilité d'une démarche artistique authentiquement créatrice
If John Edgar Wideman's exceptional social achievement respects the canonical pattern of th American success story, it was undermined from the beginning by Wideman's minority status. It is through his rupture with the institution and his way of writing combined with his critique of the American society that Wideman was assured a creative process that would result in him occupying a central position within literary and intelectual fields. All this in spite of several constrains which would relativize and marginalize his position. At that point interrogating John Edgar Wideman's exceptional destiny meant not only interrogating the emergence and institutionalization of the figure of the writer, and more precisely, of the African-American writer in the American society or the relationship between the literary and intelectual fields with the one of power, but at the same time, I addressed the question of being black in the American society. In fact, as the writer and his family destinies are testifying, the discredit, the social and political humiliation that the historical experience of racial domination constituted are constantly revived by the power struggles of the contemporary world and their symbolic violence determines individual dispositions. The main point of my dissertation is an attempt to objectivize the act of creation and to understand, through the examination of the specific situation of the writer, which were the conditions of possibility of an authentic artistic and creative process
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Dal, Checco Monia. "Post-Authenticity: The Collapse of Authentic Blackness in the Post-Soul Memoir." Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3425303.

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“Oreo,” “white-black,” “Uncle Tom” or “sellout” are just a few of the derogatory terms used to refer to someone who is black but “acts white.” Today more than ever, blackness seems to be a slippery concept, and the proliferation of terms that denote someone who is “inauthentic” go hand in hand with discussions about the (in)authentic blackness of public figures. Although the general trend seems to be that of denying the validity of every notion of racial authenticity, this trend coexists with a need to define blackness, pin it down, establish boundaries, even if these boundaries are accepted as fluid and permeable. My dissertation focuses on an analysis of the notion of “authentic blackness” in African American contemporary memoirs, especially those that can be read as post-soul literature. Specifically, I base my definition of post-soul on the parameters established by Bertram Ashe in 2007, that is, I consider as “post-soul” texts that: - have been written by authors who were born or came of age during or after the Civil Rights Movement and were raised in a multicultural, integrated environment -stage what Ashe calls “blaxploration,” that is a desire to investigate, (re)define and de-essentialize blackness -carry on blaxploration through the execution of “allusion-disruption gestures,” namely the author mentions tropes of traditional blackness, only to contradict them shortly after in order to show the untenable nature of their supposed authenticity. My idea is that the memoir is a privileged genre to investigate authenticity, partly because of the long and complex history of the genre in African American literature, partly because memoirs reflect on what happens when blackness is embodied, and on the consequences of this embodiment in a racist and capitalist society. Aim of the project is to explore racial authenticity in the contemporary scene, keeping in mind how the concept has shifted over time and analyzing how it can be retraced in the production of contemporary African American memoirists. My main argument is that performances of racial identity emerge out of specific sociopolitical situations in which the performer operates, and that these performances are perceived as ineffective or at least insufficient as a tool of identity construction in the contemporary era, so that every notion of authentic blackness is seen as circumstantial, fluid, and ultimately untenable.
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Micucci, Sonja. ""Blackness" och "Womanism" : Hur gestaltar Maya Angelous poesi den afroamerikanska språkkulturen samt kvinnan?" Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-177354.

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McFarlane, Donna Elaine. "Representing Blackness : Marcus Garvey and the politics of museology in post-colonial Jamaica." Thesis, University of Leicester, 2013. http://hdl.handle.net/2381/28232.

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Historically Black people in the Western Hemisphere have lacked power to represent their stories to themselves, from their perspective in museums. In spite of the fact that African Universities, like 14th century Djenne University in Timbuktu, with thousands of volumes of books and manuscripts, existed before the rise of Western civilizations; Black children in the Western Hemisphere learn that Africans did not have a written history justifying the burden of Europeans to write Africa’s history. African history books from the perspective of enlightened Black scholarship have been written for centuries but are not widely known in Black communities and are not routinely a part of the curricula in western educational systems. The result is wide scale historical amnesia among Black people about their ancient histories. Through extensive desk research and exploration of issues of self-identity in the course of my work as Director of Liberty Hall, I am able to pose answers to the questions of where and how do we make a start at stimulating memory, and in representation of these memories in museums? This study explores the historical bases upon which representation of Black histories have been made in the educational system and in museums in post-colonial Jamaica; and proposes that when representation draws on the work of enlightened scholarship it reveals a historical legacy of strength, innovation, and resilience that makes a powerful contribution to Black education and to that of others. More importantly, it affects and reinforces positive self-identity, one of the cornerstones of modern museology. The Marcus Mosiah Garvey Multimedia Museum is an exercise in memory, modern museology, and in involvement of the surrounding communities in charting the museums’ developmental course. Reinterpretation of Liberty Hall, a national monument, facilitates a comprehensive approach to representation of ‘our’ story, with the museum as its central educational tool.
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Wolf, Jonathan T. "Liberating Blackness| African-American Prison Writers and the Creation of the Black Revolutionary." Thesis, Fordham University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10281261.

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Liberating Blackness: African-American Prison Writers and the Creation of the Black Revolutionary takes an in-depth look at a selection of works written by African-American writers who, in autobiographies and novels written during the Civil Rights and Black Power movements, utilized their own experiences with the carceral system to articulate revolutionary Black identities capable of resisting racial oppression. To articulate these revolutionary Black identities these authors would develop counter-narratives to three key historical discourses—scientific discourses of Black bodies, pedagogical discourses of Black minds, and political discourses of Black communities—that had, respectively, defined Black bodies and Black intellects as inferior to White bodies and White intellects, and subordinated the political interests of Black communities to White communities. These discourses would be used by state and federal agencies to justify racially disparate practices and processes of incarceration. In my first two chapters, I closely read The Autobiography of Malcolm X, Soledad Brother, Assata: An Autobiography, and Angela Davis: An Autobiography to look at how, respectively, Malcolm X, George Jackson, Assata Shakur, and Angela Davis utilize their own experiences in prison to craft counter-narratives about Black bodies and Black minds. I argue that while these counter-narratives aided readers in developing Black identities resistant to racist stereotypes, the dialectical frameworks that X and Jackson used in shaping their revolutionary subjectivities, informed by heteronormative, misogynist, and patriarchal beliefs, had the effect of (re)producing many of the practices of exclusion that justified the carceral system. In reaction, Black women prison writers, like Davis and Shakur, would utilize a dialogical model to develop a revolutionary Black female intersubjectivity based on practices of inclusivity, diversity and community. In my last chapter, I explore the novels Iron City by Lloyd L. Brown, and House of Slammers by Nathan Heard, novels written at the beginning and end of the era I review, to display how the counter-narratives put forth by all of these authors shaped the political landscape during the Civil Rights and Black Power eras. I argue that the changes in tone between these two works, from optimism to pessimism, reflect on how X and Jackson’s dialectical models encouraged the political balkanization of Civil Rights and Black Power organizations, which inhibited them from mounting as effective a resistance against the carceral state as they could have had they taken heed of Davis and Shakur’s intersubjective model.

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Levorato, Irene <1995&gt. "Investigating Blackness in the United States through the works of Ta-Nehisi Coates." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/20416.

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Abstract: My final dissertation takes into exam the challenges of being black in the United States, as they are narrated in Ta-Nehisi Coates’s work. The thesis is divided into three chapters, each one focusing on a book by Coates. The first chapter is about The Beautiful Struggle, a memoir in which the author writes about his early years spent in the neighborhood of Mondawmin in Baltimore. The following chapter analyzes Coates’s second memoir, Between the World and Me, which the author writes as a letter to his fifteen-year-old son Samori. In the book, the author explores the issues of racism and white supremacy in America and describes his own journey of personal discovering within American society. The final chapter focuses on Coates’s first novel, The Water Dancer, set on a plantation in Antebellum America. Through fiction, the author tells the story of Hiram, a young man born into bondage who is gifted with a photographic memory and with the power of Conduction. In the course of the novel, Coates deals with the topics of memory, love, loss, and freedom.
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Trento, Paola <1995&gt. "Contemporary Black Horror Films: Reinventing Representations of Blackness to Question Post-Racial America." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21646.

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The aim of this thesis is exploring four contemporary Black Horror films in which African American filmmakers reinvent 20th century horror stereotypes of Blackness, to address an active critique of the “Post - Racial” myth and affirm the inclusion of Black life within American society. The first section draws on R. Means Coleman’s Horror Noire and historically outlines the problematic involvement that Blackness has endured in 20th century horror cinema. Indeed, monstrous depictions of Blackness originated in the 19th century Blackface minstrelsy, and became evident in 1930s Hollywood films Ingagi (1930) and King Kong (1933). This part also explains the distinction between “Blacks in Horror” and “Black Horror” genres, vital to identify the value of horror movies that are instead based on and supportive of Black perspectives. As a matter of fact, the 1970s era of “Blaxploitation Films” is a time of representational achievements for Black filmmakers, who produce their own horror visions in the wake of the Civil Rights political movement. The second section focuses on four Black Horror movies of the contemporary era: Get Out (2017) and Us (2019) by J. Peele, The First Purge (2018) by Gerard McMurray, and Amazon Prime’s Them: Covenant (2021) by L. Marvin. It will be demonstrated that these films create innovative horror stories through an authentic Black vision and purpose, either subverting racist and grotesque images of Blackness of the 20th century or advancing and empowering previous Black Horror achievements. By making provocative counter narratives, these productions utilise the frightening effects of this genre to reflect on the ambiguity of the “Post Racial” ideology, and actively criticise the invisible discriminations still pervading the American political system.
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Mayer, Elisabeth. "Shakespeare and Black Masculinity in Antebellum America: Slave Revolts and Construction of Revolutionary Blackness." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/904.

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This thesis explores how Shakespeare was used by Antebellum American writers to frame slave revolts as either criminal or revolutionary. By specifically addressing The Confessions of Nat Turner by Thomas R. Gray and "The Heroic Slave" by Frederick Douglass, this paper looks at the way invocations of Shakespeare framed depictions of black violence. At a moment when what it means to be American was questioned, American writers like Gray and Douglass turned to Shakespeare and the British roots of the English language in order to structure their respective arguments. In doing so, these texts illuminate how transatlantic identity still permeated American thought. This thesis also argues that the conscious use of British literature, Shakespeare in particular, by abolitionists constitutes a critique of the unfulfilled American ideals they believe slavery undermines. In addressing depictions of slave revolts and black masculinity in this period, this thesis explores how allusions to Shakespeare helped frame the historiography surrounding how slave revolts in America were and are remembered.
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Brar, Dhanveer Singh. "Blackness, radicalism, sound : black consciousness and black popular music in the U.S.A. (1955-1971)." Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/7806/.

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The concern in this thesis is with the relationship between black music and black radicalism. This relationship is addressed through three case studies which centre on the co-emergence of the Black Consciousness movement and new forms of Black popular music in the United States between 1955 and 1971. The contention is that the relationship between the movement and the new popular music during this period is indicative of a general exchange between black music and black radicalism and can be analysed by paying attention to phonic substance. The relationship between these practices and traditions is primarily sonic, and it is as phonic substance that the blackness of black music and black radicalism emerges. The theorisation of blackness and phonic materiality is informed by a set of ongoing debates taking place within the field of Black studies. These debates address the structural and political meanings of blackness in the West and as such form the background to the research presented in the case studies on the Black Consciousness movement and Black popular music. Each of the case studies is made up of archival material ranging in format. The focus is always on how this material contributes to an analysis of the sonic form and content of the movement and the music. In this respect the archive is not a stable resource from which information is extracted but is always under construction and informing the arguments being made about the phonic materiality of black music and black radicalism.
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Phiri, Aretha Myrah Muterakuvanthu. "Toni Morrison and the literary canon whiteness, blackness, and the construction of racial identity." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002255.

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Toni Morrison, in Playing in the Dark, observes the pervasive silence that surrounds race in nineteenth-century canonical literature. Observing the ways in which the “Africanist” African-American presence pervades this literature, Morrison has called for an investigation of the ways in which whiteness operates in American canonical literature. This thesis takes up that challenge. In the first section, from Chapters One through Three, I explore how whiteness operates through the representation of the African-American figure in the works of three eminent nineteenth-century American writers, Harriet Beecher Stowe, Walt Whitman, and Mark Twain. The texts studied in this regard are: Uncle Tom’s Cabin, Leaves of Grass, and Adventures of Huckleberry Finn. This section is not concerned with whether these texts constitute racist literature but with the ways in which the study of race, particularly whiteness, reveals the contradictions and insecurities that attend (white American) identity. As such, Morrison’s own fiction, written in response to white historical representations of African-Americans also deserves attention. The second section of this thesis focuses on Morrison’s attempt to produce an authentically “black” literature. Here I look at two of Morrison’s least studied but arguably most contentious novels particularly because of what they reveal of Morrison’s complex position on race. In Chapter Four I focus on Tar Baby and argue that this novel reveals Morrison’s somewhat essentialist position on blackness and racial, cultural, and gendered identity, particularly as this pertains to responsibilities she places on the black woman as culture-bearer. In Chapter Five I argue that Paradise, while taking a particularly challenging position on blackness, reveals Morrison’s evolving position on race, particularly her concern with the destructive nature of internalized racism. This thesis concludes that while racial identities have very real material consequences, whiteness and blackness are ideological and social constructs which, because of their constructedness, are fallible and perpetually under revision.
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Beck, Key JR. "There is a Stranger Among Us: The African-American Experience of Blackness in Japan." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384850532.

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Hedegard, Danielle A. "Racialized Cultural Capital and Inequality: A Comparative Study of Blackness in Brazil's Tourism Market." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/203431.

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In my dissertation, I argue that blackness is an accumulable cultural resource that perpetuates racial and class inequality. The overarching question I ask is what determines who benefits from blackness, black bodies or dominant resources? To answer this question, I first develop a framework that integrates cultural capital theory with two streams of research within the sociology of race - `racialization' and `race as a resource.' Next, I demonstrate my argument and address secondary theoretical goals - in globalization and race in Brazil, with an empirical study in the context of cultural tourism.I examine how individuals transform capoeira into a racialized cultural resource through connections to symbols of blackness and the meanings these symbols provoke, within the tourism market in Salvador, Brazil. Capoeira is a globally popular Brazilian martial art often linked to blackness, which brings American and European tourists together with Brazilian practitioners in an interactive setting. Cosmopolitan consumers now interpret cultural symbols of racial difference, including blackness, as valuable, and tourism exemplifies the growing value of racial otherness. Salvador, Brazil is a central site in the framing of blackness for cosmopolitan consumers. Tourist settings allow me to examine how individuals acquire embodied cultural capital through experience with cultural others. Scholars connect Brazil's extreme social inequality to race and class, and they reveal a profound ambiguity over racialized cultural heritage in Brazil. This creates a context where Brazilians of diverse racial and class backgrounds can benefit from racialized culture.How do racial meanings emerge as tourists and Brazilians interact, how does blackness becomes valuable as valuable a social, cultural, or economic resource for producers and consumers, and which actors benefit from this racialized cultural capital? I answer these questions through comparative participant observation and interviews at two capoeira studios. Long-term participant observation allows me to focus on the embodiment of experiences and the how of cultural valorization. Comparative ethnography best provides insight into how individuals, groups, and organizations put cultural capital to practical use to control and limit resources, allowing for two layers of analysis - one, of interactional meaning making and cultural enactment and the other, a cross-group comparison of these micro-level processes.
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Linton, Rowena. "A Different Kind of Blackness: Using Successful Journeys to Examine Students’ Experiences of Secondary Schooling." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/34203.

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Black females achieve high standards of success, yet their lived experiences are frequently absent from educational literature in Canada. Using narratives gathered through semi-structured interviews and focus group discussions, this thesis documents the navigational strategies adopted by four Black female students to achieve academic success in learning environments that often predicted their failure. The narratives highlight the factors the girls believed contributed to their academic success, how they conceptualized their identity and the role(s) their identity played in their schooling experiences and academic success. Contrary to deficiencies that are often highlighted in studies on the schooling experiences of Black students, using feminist theory, critical race theory and antiracism, coupled with resistance theory shed light on the positive aspects of these Black females’ schooling experiences in Ontario. Such an approach disrupts negative views of Black students as lagging behind in education in Canada. Disseminating the narratives of successful students provides real life examples for other students to imitate in pursuit of academic success amidst educational and societal barriers. On a macro level, these narratives provide education policy makers with different perspectives on how students struggled to achieve academic success within a system that promised to be accessible to all students.
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Gibson, Brian. "Island, highland, and undecipherable blackness, natural landscape imagery in the novels of Robert Louis Stevenson." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0006/MQ46001.pdf.

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Akbarian, Shaida Shaida. "The Thirst of the World: Blackness and Ontology Between Earthly Sovereignty and the Oceanic Abyss." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619134492233873.

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Johnston, Christopher F. "Performing Blackness at the Heart of Whiteness: The Life and Art of Jean-Michel Basquiat." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1208873492.

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Rush, Christopher. "A Socratic Approach: An Examination of Existential Blackness and Its Contribution to the Black Church." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1335560656.

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Gelbwasser, Kimberly. "“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305834530.

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