Analysis Of Chapter 11 Of 'The Souls Of Black Folk'

Kelly Brown Douglas begins by posing a series of questions, including, “Who is the Black Christ?” and “Is the Black Christ Enough?” (6-7) For Douglas, the Black Christ, “…represents God’s urgent movement in human history to set Black captives free from the demons of White racism” (3). The question of “Who is the Black Christ?” is addressed in Chapter 3. The question of “Is the Black Christ enough?” is addressed in Chapters 4 and 5, as Douglas critically examines the relationship of the Black Christ to the Black community and ends with addressing what womanist theology is and why there is a need for it in understanding the Black Christ.

Dubois, W.E.B. The Souls of Black Folk. UMDrive. The University of Memphis. N.d. Web. 22 Feb. 2014.

DuBois's story "The Veil" shows a concept that is visible on many levels. The veil can be seen as the literal darker skin of the black people, which is an easy way to identitify any race from any other race. This physical trait allows for discrimination solely because it is the easiest thing to point out. The veil also explores the idea of the White's lack of acceptance of Blacks as Americans, let alone "real" Americans. The veil also covers the notion of the Blacks' inability to see themselves outside of what America (White Americans) had described them as.

William Edward Burghardt Dubois is a man that has shaped and changed the world of Sociology. In 1903 He offers his own analysis of consciousness in his paper,Double consciousness and the Veil, he asks a question that could be said to be before it’s time. Simply, Can the self be more than one entity. Exploring the social world that is most accessible to to him, This is a world that is enveloped in oppression inequality many injustices. Being an educated man was not unheard of at the time but to be Black and educated man was not. Moreover, Living with this identity forces him to define his internal thoughts and feelings is such a

The Souls of Black Folk by W.E.B Dubois is a influential work in African American literature and is an American classic. In this book Dubois proposes that "the problem of the Twentieth Century is the problem of the color-line." His concepts of life behind the veil of race and the resulting "double-consciousness, this sense of always looking at one's self through the eyes of others," have become touchstones for thinking about race in America. In addition to these lasting concepts, Souls offers an evaluation of the progress of the races and the possibilities for future progress as the nation entered the twentieth century.

The next aspect of double consciousness consists of the rejection of African Americans by white Americans and institutions. Blacks are forced to live in America, but at the same time, are not considered “true” Americans and are separated by the veil that DuBois talks about. DuBois first feels this rejection when a little girl at his school rejected his card for no reason other than his skin color. He asks, “Why did God make me an outcast and a stranger in mine own house?” (Dubois 896). He describes opportunities for blacks as “relentlessly narrow, tall, and unscalable to sons of night” (896) giving the impression that a

As DuBois looks through the veil, he can see a world that he loves, but cannot belong to because it belongs to the whites. The veil perpetuates the concept of alienation from the world to which he knows he will never belong. From the other side, whites look through at blacks, and construct their own opinions of the opposing race, and in doing so, create an opinion that is accepted by blacks themselves. The distortion created by the veil muddles the world of the whites and also the self-knowledge within each individual on the black side of the veil.

Harris states that DuBois "masks" her life. She doesn't want to face what she really is. The worst horror for her in her mind is for anyone else to see her true self.

This passage from Dubois sets up the experience in Citizen, explaining the sensation of being judged and viewed by yourself and by society around you. To Dubois, the life of the ‘negro’ is lived in duality between being black (or negro, as Dubois says) and being American. The key implication from this described duality is the separation in identity between being ‘negro’ and being ‘American’. The same

Through his work, “Of Our Spiritual Strivings,” W.E.B. Dubois takes the reader on a journey through the typical black man’s eyes. He creates a new meaning of the African American man as he shares personal experiences and stories of the past alike. He plays upon the heart strings of every reader, no matter the race, with his literary knowledge of words, use of pathos, and stories of his past experience to pull in emotional ties to his work. The application of dualism allows the reader, who is most commonly white men, to choose a side to sympathize with, for Dubois gives the sense of double consciousness as the African and the American throughout his entire work.

Throughout the second chapter of DuBois book The Souls of Black Folk, the author goes deeper into relations between white and black people, he describes their daily interactions, it is important to notice here that these encounters between the two races always have been under the control of white people and that the blacks have at all times been under white rule, which left the suppressed people, the black folk, extremely vulnerable to violence and a slave like environment still exists although slavery had been abolished years ago. The interactions and relations between white and black extend further than in previous years whilst slavery still existed, the interactions and relations now extend into a political and economic level as too previously it was illegal for blacks to own anything. Now there are wealthy white and black families or entities yet the wealthy ones do not interact and live apart geographically, whilst the poor population, white or black, lives in the immediate vicinity. It is very evident to DuBois that there was a development of social facts that occurred throughout the time, black people identified themselves as lesser and subordinate to white people and this social fact delegated the social interactions in the time, for example the fact that almost every black person in the

Between 1890 and 1906, Black people were rejected from the area of politics, as southern states amended their constitutions to deny Black American citizens their voting rights that had been ratified by the Fifteenth Amendment. The beliefs of racial uplift, was an idea that placed responsibility on educated Black people for the well-being of the majority of their race. This was a reaction to the assault on African American civil and political rights, also known as “the Negro problem (Washington 8).” During this era, there were opportunities for Black people to become leaders of Black communities everywhere. African American leaders combated stereotypes by highlighting class differences among Blacks that believed in the stereotypes themselves. In 1903, W. E. B. Du Bois published the book, The Souls of Black Folk. He criticized "the old attitude of adjustment and submission" that had been expressed by Booker T. Washington in the Atlanta Compromise Address (Hill 734). Washington addressed that Southern Black people should work and submit to White political rule, while Southern White people guaranteed Black people the reception of basic educational and economic opportunities. Du Bois believed that full civil rights and increased political representation, would uplift the Black community during this time. African Americans needed the opportunities for advanced education to develop this sore of leadership, titled the “Talented Tenth”, an African-American intellectual elite

Eleanor W. Traylor begins by explaining the fallacy in thinking that ragtime was the first and foremost contributor to black theatre art in America. She argues that "the source of all that can be called representative American theatre is Aframerican" (47). In other words, she elaborates, there were two kinds of ceremonies and narratives pervasive to black theatre before ragtime. The minstrel show is one example. The article stresses that the minstrel show was not invented by white plantation owners, but that the minstrel show was a failed attempt at satirical imitation. The real minstrel show came from "the Afro American magic circle of creation" (Traylor 48). In the same page, she argues that their African American Minstrel show had its roots in African tradition, specifically, the Yoruba tradition. In this tradition, "the mask is wood until it becomes the mask in motion." Somehow, this mask got translated into blackface, into a tool for hiding rather than a tool for revealing. The mask used in African American minstrelsy would reveal the spirit of the mask wearer. Yoruba music would be wholly original, unusable by their white counterparts because it wasn 't wholly understood. The apparatus of using the wholly spiritual and authentic to create an art that is fully American would evolve over the centuries until black theatre became what it is during contemporary times. Traylor argues that it is the only truly American theatre because it was created in America.

From the video of W.E.B. Bois to the best, that I could heard and understand. He talks about a metaphor of the veil. The veil is a visual manifestation of the color line, a problem Dubois worked his whole life to remedy. He argues that African Americans view the world and its potential economic, political, and social opportunities different from that of white. He call it a “blessing and a curse. It is true that we in his world are looked upon as a problem. The burden was not just poverty but also the burden that the white world put on the Negro to view himself in their eyes as a problem, this is called the "double-consciousness.”

Chapter 11 of "Pride and Prejudice" by Jane Austen opens with two lines from the third person, or omniscient narrator, who is focalizing through Elizabeth Bennett. Focalizing, meaning that it is the narrator's voice that speaks, but we see through the eyes of the characters, gives us the chance to understand the characters without direct dialogue. By telling us that Elizabeth was 'growing more angry but trying to compose herself' (Pride and Prejudice, p148) you start to understand that something important must have happened in order to have affected Elizabeth in such a profound way. You can also begin to empathise with Elizabeth, and justify her anger as Mr Darcy has asked her to marry him, although he has more or less said that she is not