Race discourse and the US Confederate Flag

Holyfield, Lori; Moltz, Matthew Ryan; Bradley, Mindy S.

doi:10.1080/13613320903364481

Cited by 21 publications

(15 citation statements)

References 28 publications

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“…A cumulative body of research examining whiteness in politics (Avila and Rose ; Holyfield, Moltz, and Bradley ), education (Picower ; Preston ), and professional sports (Newman ; Staurowsky ) supports the notion of the construction and utilization of racialized privilege in various institutions. Cultural capital, defined as the “institutionalized, high‐status cultural signals used for social and cultural exclusion,” presents an avenue for exploring whiteness and white privilege within public art institutions, as whiteness becomes part of the visual code used for social and cultural exclusion (Lamont and Lareau : 156).…”

Section: Social Space Privilege and Culturementioning

confidence: 99%

Curating Inequality: The Link between Cultural Reproduction and Race in the Visual Arts

Blackwood¹,

Purcell²

2014

Sociological Inquiry

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Although the U.S. population is becoming more racially and ethnically diverse, research indicates that minority participation in the arts continues to decline. This article addresses the racial disparity of public art museum attendance by examining the role of the art museum curator and the process by which concepts of race are reproduced within the space of the public art museum. Utilizing Bourdieu's theories of cultural reproduction, social space, and symbolic power as a preliminary framework of inquiry, we examine the concept of whiteness as privileged social construct. Through face-to-face indepth interviews with museum curators, we investigate the means by which the dominant cultural narrative of whiteness is maintained through the preferences, decisions, and social interactions of curators. We draw upon critical white studies, a part of critical race theory, to underline the manner in which whiteness presents itself as a position of dominance. Our findings show that whiteness is maintained through the process of exclusion by presenting the white cultural narrative as both ordinary and invisible.

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Section: Social Space Privilege and Culturementioning

confidence: 99%

Curating Inequality: The Link between Cultural Reproduction and Race in the Visual Arts

Blackwood¹,

Purcell²

2014

Sociological Inquiry

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“…Unfortunately, the technicalrational knowledge paradigm exclusively used in the administrators' discourse allowed them to remain blind to, or silent about, the oppression that community members all discussed in length. The silence of the administrators' discourse in regards to racialized oppression tacitly supports white privilege, just as colorblind discourse does (Holyfield, Moltz and Bradley 2009). Further, without a larger end in mind, their calculations and procedures were not interrogated for their ultimate effect upon the students and community.…”

Section: Discussionmentioning

confidence: 99%

‘That racism thing’: a critical race discourse analysis of a conflict over the proposed closure of a black high school

Briscoe

Khalifa

2013

Race Ethnicity and Education

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Using critical race discourse analysis, this study examines descriptions of a heated controversy over the proposed closure of the only primarily black high school in a large urban city. Participants included community members and the district and school leaders who were key in the controversy. Based on Foucault's analysis of power we looked for conflicts in the narratives of the participants in their description of the controversy. Four strands of discursive conflict emerged: the purpose of school; the relationship of school and community; communication; and the issue of racism. Taking these four strands together, the themes found in the discourse of the community members enacted an emancipatory knowledge paradigm, while the themes found in the discourse of the administrators enacted a technical-rational, instrumental paradigm of knowledge.

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“…10. This can perhaps be compared to debates over the Confederate Flag, Southern culture, and the history of slavery (see Holyfield, Moltz, and Bradley, 2009). 11.…”

Section: Conclusion: Political Correctness In Comic Books and Real Lifementioning

confidence: 99%

Fear of a black Spider-Man: racebending and the colour-line in superhero (re)casting

2015

Journal of Graphic Novels and Comics

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This paper tackles the way in which fans legitimise 'whiteness' in the pantheon of American fictional heroes. Using the 2010 internet meme calling for an AfricanAmerican actor be cast as the next Spider-Man, and the replacement of Peter Parker with a character of Hispanic and African-American descent, I examine online arguments made by fans that Peter Parker and Spider-Man have been and therefore should remain white. Specifically, I am interested in the way in which fans legitimise the 'casting' choices of characters through the use of canon -the officially recognised history of a fictional universe -and dominant characterisations of Spider-Man as a hero.

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Race discourse and the US Confederate Flag

Cited by 21 publications

References 28 publications

Curating Inequality: The Link between Cultural Reproduction and Race in the Visual Arts

Curating Inequality: The Link between Cultural Reproduction and Race in the Visual Arts

‘That racism thing’: a critical race discourse analysis of a conflict over the proposed closure of a black high school

Fear of a black Spider-Man: racebending and the colour-line in superhero (re)casting

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