Online Graphics Can Change Conversations About Racism in Aotearoa

Racism is endemic in many online spaces, promoted by the structures of social networking sites (SNS), and few initiatives have attempted to counter everyday racism online. This article describes how tauiwi groups collaboratively developed anti-racist graphics, which unpredictably became memes that stimulated online and offline conversations about anti-racism and decolonisation. I outline the difficulties in developing such graphics, suggest where to post them, and argue that the strategies used to develop anti-racist graphics could be useful in combatting other social inequities. The article draws on a larger PhD study in which I interviewed online news editors, analysed racism on SNS, developed and posted anti-racist graphics on two Facebook genres, and analysed the results. It envisions a future where online users commonly see witty images that challenge structural inequities

Old Age, Illness and Disability in a Scottish County

Abstract Not Provided

From Anthropophagy to Allegory and Back: A Study of Classical Myth and the Brazilian Novel

“Let it be remembered that events narrated in this chronicle – full of veracity, albeit lacking in brilliance – took place during the worst years of the military dictatorship and the most rigid censorship of the press. There was a hidden reality, a secret country that didn’t get into the news. The newsrooms of newspapers and radio and television stations found themselves restricted to covering generally unexpected events. Their editorial pages were reduced to unconditional praise for the system of government and those who governed.” Jorge Amado In the epigraph above, the narrator of The War of the Saints, written by Jorge Leal Amado de Faria (Jorge Amado) in 1988, sets his narrative – ‘lacking in brilliance’ but filled (ostensibly) with the stuff of social and cultural narrative – against a backdrop of the ‘hidden reality’, the ‘secret country that didn’t even get into the news’. In the passage that follows the epigraph, the narrator goes on to elaborate on the ‘total prohibition of any reportage that carried the slightest allusion to the daily imprisonments, torture, political murders, and violation of human rights’. Historical events under the regime remained outside of the official accounts of newspapers. The narrator of The War of the Saints seems to implicitly criticize journalists for their reportage of ‘recipes’, ‘poems, ballads, odes, sonnets by classical poets, and stanzas from The Lusiads’ (that is, from Luís Vaz de Camões’ 1572 Homeric-Virgilian epic of the Portuguese colonial conquests), and yet the narrative is no weightier, politically potent or consequential than those topics. In fact, given the repeated – though subtle – references to classical stories such as Theseus, or to figures like Aphrodite and Menelaus, the novel might be read epic terms alongside the Portuguese The Lusiads, rather than as an insignificant, quotidian tale. Nevertheless, as is the case with literature under many repressive regimes throughout history, the façade of myth and fairytale – the allegory – to some extent conceals the potential subversiveness of the material

Sonali Fernando\u27s Mary Seacole: The Real Angel of the Crimea as Successful Cinematic Adaptation of Post-Colonial Voices

This honors thesis will explore the thematic relationship between Jamaican-British pioneer Mary Seacole’s autobiography, The Wonderful Adventures of Mary Seacole in Many Lands (1857) and the BBC docudrama Mary Seacole: The Real Angel of Crimea (2005) directed by Sonali Fernando. In this paper, critical conversations around race, gender, class, and citizenship in both literature and cinema will contextually add to the dynamic between literature and film adaptations, while contextually contributing to the lack thereof for intersectional experiences in narrative media. Moreover, the paper will consult both literary and film theorists such as Homi Bhabha and bell hooks to understand postcolonial voices framed through the perspective of a black woman, in both text and screen. By looking at this adaptation through a literary and cinematic lens, this paper intends to uncover the film’s veracity in honoring the legacy and tenacity of the woman who has been called England’s best black Briton

Black Apollo? Martin Bernal\u27s \u3cem\u3eBlack Athena: The Afroasiatic Roots of Classical Civilization\u3c/em\u3e, volume iii, and Why Race Still Matters

This chapter provides a discussion of Martin Bernal\u27s third volume of Black Athena, published in 2006, with a view toward Bernal\u27s continued relevance in a changing social, political, and intellectual landscape. Previous criticisms of Bernal\u27s work to the contrary notwithstanding, I argue that Bernal examples the scholarly methods for historical inquiries about the past, particularly as they concern cultural heritage and cultural appropriation. The case of an African Apollo might resonate to those interested in African heritage, and even in a postcolonial context where hybridity trumps “origins,” the study of Apollo\u27s African analogs leads us down many productive paths. The chapter examines Bernal\u27s arguments for an African origin of Apollo, like a Black Athena, and the attendant sociocultural and scholarly problems associated with such a claim

Afterlife: Du Bois, Classical Humanism and the Matter of Black Lives

In Ellison’s 1952 novel Invisible Man, the protagonist—i.e., the Invisible Man—encounters an ex-doctor at the Golden Day, a bar full of discontents. The former doctor explains to the overwhelmed and confused Mr Norton, who is the white trustee of the Southern black college that the Invisible Man attends, how he sees the protagonist. It is no accident that Ellison models the college in the novel after Tuskegee Normal Institute, the historical black college that Booker T. Washington founded in 1881. After the publication of his autobiography Up From Slavery in 1901, Washington would become W. E. B. Du Bois’s public nemesis, combatant in contradictory solutions to ‘the Negro Problem’. In Invisible Man, the protagonist models various approaches to being black—and to being a problem—in America in the middle of the twentieth century, from Du Boisian humanism, to Washingtonian separatism and self-help, all the while enduring the cruel joke of Jim Crow and segregation in America. He faces expulsion from his Negro college after inadvertently exposing Mr Norton to the unseemly life of a black sharecropper, Trueblood, in the rural areas surrounding the college, and he piles error upon error when he brings Mr Norton to the Golden Day. The episode at the bar suggests a Du Boisian solution to the situation in which the protagonist finds himself, but also to the broader human condition: Invisible Man must attempt to craft a way of being in a world that seems to conspire to hem him in on all sides. Invisible Man’s situation in the novel is not unlike that of Du Bois himself, who sought equality for Negro sharecroppers in the South by offering them Cicero’s Pro Archia, as AUTHOR 1 in this volume recounts

Dignity in Homer and Classical Greece

Woven into the distress of Homeric epic, which often laments the terrors of war, the violence of passion, and the desperation of life, are records of ancient customs that hint at a deep respect for culture and human worth. To take but one example, recall Hector\u27s refusal to take wine from his mother when he is bloody from battle. This moment is apt to strike modern readers as trivial. In fact, it reifies important ancient distinctions between war and peace, home and battlefield, and the equally ancient sentiment that to everything, there is a season. In this case, no matter what has occurred in war in Homer\u27s Iliad, the poem makes clear there is a time to put away unrest, eat together, and, afterward, revere humanity. That is, there is an injunction to make space for acting in ways that acknowledge mutual value. Thus a repeated formula throughout the epics to affirm that after they [often male warriors] had put away their desire for eating and drinking,” then comes a time for the bard\u27s entertainment, games, or strategic discussions (e.g., book 12.310). As Jasper Griffin describes this element of the epics, Eating together is a universal mark of union, creating a bond.

The Association Between Online Risk Behaviors and Real Life Sexual Behaviors Among African American Female Adolescents

An increased exposure to the sexual content of traditional mass media (i.e., television, magazines, movies, music) affects real life sexual behaviors among adolescents. Engaging in online risk behaviors such as sharing/posting sexual content using social networking sites, cellphones, smartphones, IPads, or other new media devices has become common among adolescents. The purpose of this quantitative, correlation study, based upon the theory of reasoned action and three pre-existing national surveys, was to determine whether significant associations exist between attitudes, intentions, and behaviors related to online risk behaviors and real life sexual behaviors among African American female adolescents in Metro Atlanta. Data were collected from 111 African American female adolescents residing in the Metro Atlanta. Statistical analyses included the Pearson r correlation, phi coefficient correlation, and logistic regression tests. According to study results, there were no significant relationships between attitudes and behaviors concerning online risk behaviors and real life sexual behaviors, age and attitudes of online risk behaviors, or relationship status and online risk behaviors. However, a significant relationship was found between age and engaging in online risk behavior. The positive social change implications include further insight for those working in the area of adolescent sexual health prevention and promotion. The findings can be used to better understand the impact of online risk behaviors on adolescent sexual health and how new media platforms can be effectively used to tailor prevention programs and campaigns

Orpheus and the Racialized Body in Brazilian Film and Literature of the Twentieth Century

This paper argues for the significance of Orpheus as a racialized body in Brazil. A consistent feature of Orpheus in Brazil throughout the twentieth century is his blackness. This is the case in each of the three variations of the Orpheus myth in twentieth - century Brazilian drama and literature: Vinicius de Moraes\u27 play, Orfeu da Conceição (Orpheus of Conception), Marcel Camus\u27 Black Orpheus, and Carlos Diegues\u27s Orfeu. Thus Brazilian Orpheus fit into a context not only of twentieth - century classical reception in Brazil and throughout the modern world, but also in discussions of Afrodescendent communities in Brazil and the Americas

Dignity in Homer and Classical Greece

Woven into the distress of Homeric epic, which often laments the terrors of war, the violence of passion, and the desperation of life, are records of ancient customs that hint at a deep respect for culture and human worth. To take but one example, recall Hector\u27s refusal to take wine from his mother when he is bloody from battle. This moment is apt to strike modern readers as trivial. In fact, it reifies important ancient distinctions between war and peace, home and battlefield, and the equally ancient sentiment that to everything, there is a season