... of the nation is rooted in the ability of Americans to wear masks, ‘‘to forge a multiplicity of creative selves and styles’’ (Juneteenth, 23). Of course, Sunraider had benefited from the finest training the nation could provide in the skills neces- sary for the creation of these new selves. For Sunraider...

.... There, Benjamin indeed refers to the “so-called­ image of oneself” (367) as a set of pure improvisations. In other words, he argues that the sense of one’s own unity of being represented in an inner image of the self has an illusory character to it. The imaginary ego is in fact a play of masks. Moreover...

... of a blazing white hand- kerchief? If in these familiar scenes what he wears is a comic mask, then what does it conceal? And how do we understand the meaning of the mask (or as Constance Rourke might say, the ‘‘double-mask’’ 1) itself? What can Louis’s smiling face tell us about the man who took his stand...

...? Of the four classic texts that have been translated into English, you ve only mentioned three. What about Black Skin, White Masks? RAJ: My first encounter with Fanon was in 1969 through the Black Panther Party [BPP] more precisely, through a childhood friend who was a member of the Des Moines, Iowa, chapter...

... , to destroy it as a position. . . . I wanted to release any followers I had acquired or at least to confuse them” (Keen 1974 : 33). An identity, we'll learn in Love's Body , is a mask carved according to the requirements of a drama and its audience. This mask is not the creative center of the person...

... of American music is also caught up in the search for authenticity. But the curious history of American music is such that the search for authenticity has so often proceeded through artifice. For the his- tory of American popular music is, in large part, a history of illusions and masks, of whites...

... , 99 – 120 . New York : Grove Press . Fanon Frantz . 1967c . Black Skin, White Masks . Translated by Markmann Charles Lam . New York : Grove Press . Fanon Frantz . 1967d . “ Medicine and Colonialism .” In A Dying Colonialism , translated by Chevalier Haakon , 121...

... to our present configuration of power, I want to structure my remarks around three statements: one by Michel Foucault, from his book The Order of Things: An Archaeology of the Human Sci- ences; the second, from Frantz Fanon’s Black Skin, White Masks; and the third, from Sylvia Wynter’s essay...

... Confessions into the figure of Love's Body Bob Dylan once told a probing Rolling Stone interviewer, Mikal Gilmore (2012), when his late-style 2012 album Tempest had just come out, wherein he once again conjured and remixed a lifetime of tropes, masks, genres, selves, and prosodic forms of poetic...

... in the Fictions of Slavery (Oxford: Oxford University Press, 2008), 207. 7. Robin Bernstein, “Dances with Things: Material Culture and the Performance of Race,” Social Text 27, no. 4 / 101 (Winter 2009): 69–70. 8. Frantz Fanon, Black Skin, White Masks (New York: Grove Press, 1967), 217. 194 boundary 2...

... responsible for social segregation were represented as taking place within the nonsymbolizable terrain between socially symbolic motives and these unspeakable psychosocial needs. In ‘‘Twentieth-Century Fiction and the Black Mask of Humanity Elli- son described blackface minstrelsy...

... done at the Alutiiq Museum in Alaska. The first, “Looking Several Ways,” focuses on the Looking Both Ways Exhibition, and the second, “Second Life: The Return of the Masks,” discusses the new meanings invoked by the return of masks to Alaska loaned from a museum in France. Both essays represent...

... bands, and military divisions that dominate New Orleans’s Carnival sea- son, which begins just after Christmas with the Feast of the Epiphany. Some floats carry masked krewemen, who dispense—noblesse oblige—the plas- tic...

... this figure in terms of cynicism, the valet's repertoire of cynical “moves” is what concerns us going forward. The motor of Small's argument is her conception of a “strategic Cynicism” (vi). This cynicism is a posture, or mask, that can be assumed and then put off again. In practice, it is a choreographed...

... for Dylan’s career-­long tropological instability with a narrative urging that, on his way to “finding Jesus” or his earlier becoming “an Elvis and a Kerouac in a Jewish punk” voice, abided an “ethnic conversion” to blackness to go along with Dylan’s language of multiplicity, hybridity, and mask.2...

... Sublamental artist, Masking Tapeworm, is unclear, although it's worth noting that the beats on Masking Tapeworm's EP, especially tracks one and two, show a distinct relation to Count G's own work; furthermore, Count G's most recent album, Spell Solved for X , reveals other affinities with Masking Tapeworm...

..., is that it doesn't usually lead to laughter. And laughter is the body-speech that transcends transcendence. If the body is a theater (131) and personality is a mask (90), the psychodrama can be a comedy (91) that tears off the mask to show masks beneath. The whodunit of our psychodramas in life or therapy can mock...

... into the past. Well, now I’ve made Fresa y chocolate, in which there is a strong criticism of our current reality, and they say I’ve put on a mask in order to make it seem as if it is possible to criticize in Cuba. MC: It’s...

... antithetical lead and discover two interpenetrating radically opposing readings inhabiting the same poem, like man and ghost or daimon once you lift the mask; while in any particular case, such a de Manian reading can never be ruled out in advance, my readings of Yeats seek to lay out the ground plan...

... of any appeal to Providence or any other transcendental. The invocation of character may be satisfying, but it may also mask a deeper problem. Mandela at no time displayed two features associated with character: amour propre, self-interest­ and self-­possession. He was not selfless; he...