Abstract
<p>The African-American female character's description in Clotel, Quicksand and Passing are very impressive, among whom Clotel, Clare and Irene are depicted as one of the most important “passing” figures for the whole story. Though sharing some similarities with the traditional Black women in the past African-American novels, Clotel, Clare and Irene are very different. The strong connection with as well as variations than the usual gender pattern are mixed within these women. It is only by this new approach that the reader can re-think Black woman and build a new African-American female identity. Taking into the consideration an ecofeminist point of view, this paper is going to study the points of similarities with and differences from the traditional Black Women in the novel, unwrap on the developing subject identity of Black women in this novel, in order to prove that in this novel female subject identity is more than a true representation of essentialism and dualism, in a special and unique realistic perspective.</p>
Highlights
The ending in Passing suggests the author's need for a new sense of incompleteness, but I think it will be better to be looked at as an old literary form that no longer fits the needs of the New Black Negro Woman
Passing places the reader behind the Veil to make the readers to feel the dilemma felt by every Black Negro /African-American Woman, the dilemma of whether to pass for the privileges behind on the White side of the color-line or not passing it and to stay loyal to the heritage found on the Black side of the color-line
About reshaping the big picture of passing and changing stereotypes of death in the previous passing the passing narrative making it the story of the racist white man, Bellew, or the tragic mulatta, Clare, Passing is a clear manifestation of the problem of color-line
Summary
In his introduction of Black Men on race, gender, and sexuality: A Critical Reader, Devon Carbado points out that questions like “WHAT DOES IT mean to be black? What political ideology holds the greatest emancipatory possibility for Blacks in America?” (Carbado, 1999) have long been on the agenda of black resistance and protest, and starting with the 1960s, black women become aware of the necessity of putting the issues of gender and sexuality on the revolutionary antiracist agenda because it was completely unfair and untrue that racial suffering should be represented only by the black man’s experience and seen only through his eyes. (Carbado, 1999) not at all surprisingly, black feminists find it imperative to add gender and sexual orientation on the list of oppressions and show that their focus on women comes not from a constant need of bashing men but from the need to offer a complete and correct image of the African American life and feelings which cannot be constructed by leaving aside women or by misrepresenting women or by only briefly mentioning women. Black fiction writers in turn picked up the convention, which evolved into the “tragic mulatto” novels of the 19th century and the “passing” novels of the early 20th century It was the problem of some black men’s oppressive behavior and attitude within the black community and family, men who were mimicking behavior learned from the dominant society – i.e. victimization of women, physical and psychological oppression and abuse, violence – because they knew no other way to affirm their manhood, to cope with their frustrations, and to show their strength. JAH (2017), Vol 06, No 06: 08-14 made a clear reference to methodology's importance in this type of research work by highlighting some of its important sub-disciplines for the accuracy of our current research such as the research analysis made by a single scholar, or the binary research analysis made by a scholar by comparing the literary work to other disciplines within humanities which are the main approaches of our methodology (Tötösi de Zepetnek, 1998)
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