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Black Portraits in African-American Literature: A Perspective From 1920-l 996, Including the Midwest

ISSN: 0362-3319.
Journal from gdlhub / 2017-08-14 12:04:24
Oleh : MARILYN CARLSON ARONSON, Augustana Co//egeS, ioux Falls
Dibuat : 2012-06-19, dengan 1 file

Keyword : Black Portraits in African-American Literature: A Perspective From 1920-l 996, Including the Midwest
Subjek : Black Portraits in African-American Literature: A Perspective From 1920-l 996, Including the Midwest
Sumber pengambilan dokumen : Internet

The first clue to this sociocultural conditioning of “black personalities” in fiction is the


name assigned to the character. In literature, the name assigned is a pertinent clue to


the character’s personality, whether positive or negatve. Examples of this conditioning


are seen in the protagonist, named Rider, in William Faulkner’s “Pantaloon in Black”


(Faulkner, 1986, pp. 114-132)and Peter Cotton, one of two protagonists in James Lane


Allen’s “Two Gentlemen of Kentucky” (Allen, 1989, pp. l-24). In both stories, the


black characters are sympathetic characters, but their names given by white writers are


derogatory.


The second clue in sociocultural conditioning is the physical appearance of the character.


Skin color has a unique symbolic value system in American society. Blacks


represented a slave value system in pre-Civil War society, and whites adapted the myth


of white superiority which sanctioned the ritual of non-reciprocal social interaction.


The ritual required blacks and whites to behave toward each other in prescribed ways;


for example, blacks addressed white slave owners as master (massa), mistress


(missus). Owners addressed slaves as aunt, uncle, mammy, daddy, and boy. Black


became the common symbol for evil, and white became the common symbol of virtue.


However, this value system, seen in literature, functioned disadvantageously for


whites as well as for blacks because the blacks saw whites as insincere and


hypocritical.

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