Modrý abstraktní vzor vodových barev na bílém pozadí TONI MORRISON A EPISTEMOLOGIE RASY Sociologie literatury FSS MUNI Františka Schormová 25.4.2024 ÚVODNÍ KOLEČKO Jak je rasa konstruována v textu? Jak se bavit o těchto tématech z české perspektivy? Překlad a pozicionalita. Toni Morrison 1931-2019 Toni Morrison, the Teacher | The New Yorker Recitatif Øjediná povídka Toni Morrison Øpůvodně publikovaná v roce 1983 Øznovu vydaná roku 2022, úvod napsala britská autorka Zadie Smith Recitatif: A Story: Morrison, Toni, Smith, Zadie: 9780593315033: Amazon.com: Books Recitatif Beginning to “Strife came to us that fall” Summary and Analysis | GradeSaver Název Recitatif Recitatif Jak? (vypravěč, stavba narativu) Kde? Kdy? Co? (děj) Kdo? (postavy) Obsah obrázku text, Písmo, snímek obrazovky, papír Popis byl vytvořen automaticky KDO? Reflexe procesu čtení ve skupinách Experiment na UHK 4 skupiny: 15, 8, 14, 10 2021, 2022 Seřazeno od nejčastějšího po nejméně častý 1. Markers often ascribed to both identities 2. Whiteness perceived as epistemologically hegemonic and normative 3. Assumptions based also on what we had covered so far in the course 1. We tend to ascribe identities as we read 2. “Recitatif” is not about racial difference but about how we perceive this difference in the text 3. These markers are unstable, socially constructed, sometimes arbitrary “Removal of all racial codes from a narrative about two characters of different races for whom racial identity is crucial.“ Toni Morrison, Playing in the Dark: Whiteness and the Literary Imagination (Harvard UP, 1992), 17 Morrison dekonstruuje epistemologii bělošství: whiteness také rasová identita postihnutelná textovými prostředky V povídce „Recitatif“ vzdoruje dekódování typickému pro studium literatury („I am so glad it wasn‘t my fault I could not figure it out.“) Ve své studii čte kanonické americké autory a dívá se na to, jak zpracovávání blackness (černošství?) a na vznik amerického literárního kánonu v opozici k tomuto konceptu Critical Race Theory vsociální koncepce a konstrukce rasy a etnicity vsoustředí se na systémy (např. právo) spíše než individuální předsudky, rasismus jako systémový fenomén vintersekcionální vvidí rasu jako sociální konstrukt a dívá se na dějiny tohoto konstruování i právní a sociální implikace tohoto konstruktu vvznikla při hledání odpovědi na otázku, proč hnutí za občanská práva neznamenala konec rasové oprese v USA vzakládá se mj. na myšlenkách afroamerických intelektuálů a intelektuálek (Douglas, Du Bois, Truth, Crenshaw), feministickém hnutí a dalších hnutích vsoučasné kontroverze v USA vand Distant Reading,” PMLA 135, no. 1 (January 2020): 59–73. Recitatif 1. Sirotčinec 2. Restaurace – Howard Johnson’s – skandál, segregace (Komla Agbelt Gbedemah) v roce 1957, protesty až do začátku šedesátých let, později LGBTQ+ práva 3. Supermarket – Newburg, New York, historie rasových nepokojů 4. Protest – souvislosti s Brown vs Board of Education (1954), TV seriály 5. Kavárna The Brady Bunch | Cast, Characters, & Facts | Britannica The Last Howard Johnson's Standing | Architect Magazine SKUPINOVÁ PRÁCE A black and white photo of tree Rings What the hell happened to Maggie? „It was the day before Maggie fell down“ „Maggie didn‘t fall. They knocked her down. Those girls pushed her down and tore her clothes“ „I wouldn‘t forget a thing like that. Would I?“ „You are the same little state kid who kicked a poor old black lady when she was down on the ground. You kicked a black lady.“ Twyla i Roberta – jasně dané identity, Maggie ambivalentní, postava která doslova nemůže mluvit sama za sebe a čtenářstvo se nikdy nedozví, co se s ní stalo. Intersekcionalita Jak se v textu projevují a jaký vztah mají různé typy znevýhodnění a identit? Jak je rasa konstruována v textu? – propletený systém referencí, který pracuje s naším dosavadním poznáním – omezené množství příznakových lingvistických prostředků Více k tématu: Richard Jean So and Edwin Roland, “Race and Distant Reading,” PMLA 135, no. 1 (January 2020): 59–73. Jak se bavit o těchto tématech z české perspektivy? – unikátní pozicionalita – nemožnost jednoduchého překladu konceptů “It is increasingly the case that students in my Southern literature classes at Emory don’t always know who is ‘black’ and who is ‘white’ in William Faulkner’s work.“ Barbara Ladd, “Reading William Faulkner after the Civil Rights Era,” in William Faulkner in Context, ed. John T. Matthews (New York: Cambridge University Press, 2015), 207–15. A Rose for Emily - Wikipedia It is increasingly the case that students in my Southern literature classes at Emory don’t always know who is “black” and who is “white” in William Faulkner’s work. I recall, in particular, a conversation about “A Rose for Emily”, in which it became clear to me that the student – an African American student – thought the story was about an upper-class, town-bred, somewhat repressed African American woman. […] He could have encountered this depiction of upper-class African American women from any number of African American texts and, as a student in a major Southern university in the early 21st century, he was quite familiar with African American literature as a category, certainly more familiar with African American literature than with “Southern” writing or William Faulkner. Anyway he was surprised to learn that most people have read Emily Grierson as “white.” […] The fact is that black and white are not so easily distinguished in Faulkner’s work for many young readers, who do not necessarily operate on the assumption that a character whose race is unmentioned is “white. Given the increasingly multiracial, multiethnic population of our communities, why should they? Rather than to assume that these readers need only to be corrected and perhaps dosed with some history, we might, instead, want to accept the idea, at least provisionally, in order to see where it takes us, because the mistake (if that is what it is) does raise important questions about the future as well as the past of race in and beyond the United States and how we read Faulkner. […] And in the twenty-first century classroom, the conjunction of a reading of “A Rose for Emily” in which an unmarked character, typically read as white, is read as African American alongside a deployment of identity politics around the political solidarity of “blackness” illuminates the complex contemporary world in which I and my student live. Barbara Ladd, “Reading William Faulkner after the Civil Rights Era,” in William Faulkner in Context, ed. John T. Matthews (Cambridge University Press, 2015), 207–15. Author Claudia Rankine Brings “Citizen” To Cleveland January 23 – Anisfield-Wolf Book Awards Od epistemologie rasy ke způsobům vidění You and your partner go to see the film The House We Live In. You ask your friend to pick up your child from school. On your way home your phone rings. Your neighbor tells you he is standing at his window watching a menacing black guy casing both your homes. The guy is walking back and forth talking to himself and seems disturbed. You tell your neighbor that your friend, whom he has met, is babysitting. He says, no, it’s not him. He’s met your friend and this isn’t that nice young man. Anyway, he wants you to know, he’s called the police. Your partner calls your friend and asks him if there’s a guy walking back and forth in front of your home. Your friend says that if anyone were outside he would see him because he is standing outside. You hear the sirens through the speakerphone. Your friend is speaking to your neighbor when you arrive home. The four police cars are gone. Your neighbor has apologized to your friend and is now apologizing to you. Feeling somewhat responsible for the actions of your neighbor, you clumsily tell your friend that the next time he wants to talk on the phone he should just go in the backyard. He looks at you a long minute before saying he can speak on the phone wherever he wants. Yes, of course, you say. Yes, of course. Claudia Rankine, “You and Your Partner,” Citizen: An American Lyric (Greywolf Press, 2015), 21. Citizen in general, and this reflective, narrative page in particular, keep on panning out, breaking the frame, showing how around each domain, each picture, each idea of “you” and “I” there are larger, unacknowledged assumptions and systems in play, and not only about race. It may be that poetry, or poetic language, wants to give us the right to speak “wherever,” to make us heard as if from everywhere and nowhere, as if superior to our mortal, frail, and socially classified bodies. But poetic language does not always get what it seems to want, does not always work as a poet intends. And even if we could write or read poetry that way (and it is by no means clear that we can), we cannot speak as if from nowhere, live as if disembodied, from day to day, as we pick up our kids, mow our lawns, or talk on our phones. If your listeners cannot stop seeing you as a “menacing black man,” then everything you say will be connected, willy-nilly, to your blackness, or your manhood, or your potential menace, or the surprising absence of any of those things; nothing you say will not be racially marked. And if that is true for black speakers, for black bodies, why should it not be true for white speakers as well? If you have not seen a picture of me or heard my voice, how do you think I look? Do you think I am white, black, Taiwanese American, or all three? Male or female or both? What if you learned you were wrong? Stephanie Burt, This Poem is You: 60 Contemporary American Poems and How to Read Them (Harvard UP, 2016), 353.