{"title":"精神的柔术：真实的血液、他的观众和拉尔夫·埃里森《看不见的人》中的抒情颠覆","authors":"Joel B. Peckham","doi":"10.7560/tsll64102","DOIUrl":null,"url":null,"abstract":"abstract:The Trueblood passage in Invisible Man is one of Ellison’s most controversial pieces of writing. Who is Jim Trueblood—an incestuous rapist or a savvy trickster playing on white prejudice for his own advantage? Contextualizing Trueblood in the tradition of African American storytelling and Ellison’s essays on race in America, this article explores the relationship between Trueblood and his audience (both Black and white) to understand the power dynamics at play and how Ellison manipulates them.","PeriodicalId":44154,"journal":{"name":"TEXAS STUDIES IN LITERATURE AND LANGUAGE","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Jiujitsu of the Spirit: Trueblood, His Audience, and Lyrical Subversion in Ralph Ellison’s Invisible Man\",\"authors\":\"Joel B. Peckham\",\"doi\":\"10.7560/tsll64102\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"abstract:The Trueblood passage in Invisible Man is one of Ellison’s most controversial pieces of writing. Who is Jim Trueblood—an incestuous rapist or a savvy trickster playing on white prejudice for his own advantage? Contextualizing Trueblood in the tradition of African American storytelling and Ellison’s essays on race in America, this article explores the relationship between Trueblood and his audience (both Black and white) to understand the power dynamics at play and how Ellison manipulates them.\",\"PeriodicalId\":44154,\"journal\":{\"name\":\"TEXAS STUDIES IN LITERATURE AND LANGUAGE\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2022-03-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"TEXAS STUDIES IN LITERATURE AND LANGUAGE\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.7560/tsll64102\",\"RegionNum\":3,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LITERATURE\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"TEXAS STUDIES IN LITERATURE AND LANGUAGE","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.7560/tsll64102","RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE","Score":null,"Total":0}
Jiujitsu of the Spirit: Trueblood, His Audience, and Lyrical Subversion in Ralph Ellison’s Invisible Man
abstract:The Trueblood passage in Invisible Man is one of Ellison’s most controversial pieces of writing. Who is Jim Trueblood—an incestuous rapist or a savvy trickster playing on white prejudice for his own advantage? Contextualizing Trueblood in the tradition of African American storytelling and Ellison’s essays on race in America, this article explores the relationship between Trueblood and his audience (both Black and white) to understand the power dynamics at play and how Ellison manipulates them.
求助内容：
应助结果提醒方式：
京公网安备 11010802042870号
