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Abstract
<p>This paper attempts to examine the theme of “passing,” viewed as a metaphor of race that marks a step forward from the painful reality of the Middle Passage to “passing,” as both physical reality and metaphor, and to find out the underlying causes of the passing character in George Schyler's Black No More in the light of social and historical dimensions. The study investigates the aspects of “passing” manifested by the African-American who is often viewed as an “appendage” to the rest of society, blacks have struggled to attain the success, equality, and overall collective consciousness of the American society, while simultaneously creating and maintaining and identity of their own. Blacks have been and continue to be socially, economically, educationally, and politically disenfranchised and therefore cannot completely find unity within an American system that continuously seeks to reaffirm their inferiority. </p>
Highlights
America has long been called “the Melting Pot” due to the fact that it is made up of a varied mix of races, cultures and ethnicities
While the authors express concern for a “new nomenclature,” which at the time was associated with Black nationalism, they do not express a similar concern for the older, yet racially evocative term “Negro,” which comes from the Spanish for black and often associated with enslavement
William Craft’s narrative from 1860, not to mention Stowe and Brown's varied uses of the publicized event, already suggests the strong fascination whites and blacks had for the passing figure
Summary
America has long been called “the Melting Pot” due to the fact that it is made up of a varied mix of races, cultures and ethnicities. The authors eschew the “ominous” designations of “black” and “white,” offering little beyond this negative critique – neither promoting their term-of-choice, “Negro,” nor offering other alternatives Instead, they question the larger meaning and reverberations of the “new nomenclature.”. While the authors express concern for a “new nomenclature,” which at the time was associated with Black nationalism, they do not express a similar concern for the older, yet racially evocative term “Negro,” which comes from the Spanish for black and often associated with enslavement.3 This struggle over signifiers, in which Glazer and Moynihan are representative of the rearguard, is an interesting way to trace a certain history of race. Irrespective of the theoretical concepts resorted to all along this study, the tools used are those of comparative literature, as clearly defined by Djelal Kadir: “Comparative Literature is the systematic practice of discerning, examining, and theorizing symbolic processes as they affect the material and aesthetic enablements in the production, valuation, and dissemination of literary culture at and through transnational and transcultural sites”, with its three main types of methodological precision: (1) intradisciplinarity (analysis and research within the disciplines in the humanities); (2) multi-disciplinarity (analysis and research by one scholar employing any other discipline), and (3) pluri-disciplinarity (analysis and research by team-work with participants from several disciplines) (Kadir, 2001)
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