The Antebellum Church

Southern, Eileen

doi:10.2307/3041766

Cited by 14 publications

(1 citation statement)

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“…Sequeira (1994) explained that speaking in tongues is not recognized as a common language, but can be interpreted by other believers. Southern (1991) revealed that many members of Black churches believe that the highest level of spiritual involvement is reached when the Holy Ghost comes upon them during the shout, music, and prayer. As Paris (1982) explained, the Pentecostal service is "a ritual drama .…”

Section: Relevant Literature Review Concerning the Black Community Chmentioning

confidence: 99%

Shout Glory: Competing Communication Codes Experienced by the Members of the African American Pentecostal Genuine Deliverance Holiness Church

Youngblood¹,

Winn²

2004

Journal of Communication

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This ethnographic inquiry reports on an African American Pentecostal church in the southern U.S. This site is important to communication scholars because the church is an essential institution in Black communities and is involved in the communication of important values, behaviors, and attitudes. This study finds that this church plays a vital role in the lives of its members and acts as an important site of community involvement, education, and spiritual worship.Furthermore, the membership culture provides a powerful corrective to the racist communication of the dominant White society by providing a spiritual community that stands in opposition to racism.

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Section: Relevant Literature Review Concerning the Black Community Chmentioning

confidence: 99%

Shout Glory: Competing Communication Codes Experienced by the Members of the African American Pentecostal Genuine Deliverance Holiness Church

Youngblood¹,

Winn²

2004

Journal of Communication

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Crossroads in the Black Aegean

Goff

Simpson

2007

127

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This book seeks to explain the prominence of Sophocles' Theban plays among those Greek tragedies adapted by dramatists across the African diaspora. It argues that the Theban plays reflect on three themes which have become crucial in the postcolonial context: identity, the grounding of civilization on barbarism, and transmission of culture over time and space. To adapt the Theban dramas is thus a massively theoretical as well as an audaciously practical act, because they have been installed as the script that both legislates and explains how they, and indeed all other cultural artefacts, are conveyed. African, Afro-Caribbean and African-American adaptations engage with the cultural politics of the so-called Western canon, and use their self-consciously literary status variously to assert, ironize, and challenge their own place, and the place of the Greek ‘originals’, in relation to that tradition. Beyond these oedipal reflexes, the adaptations offer alternative African models of cultural transmission. The book is informed by and contributes to postcolonial theory and theories of classical reception. In particular, it develops a new analytic concept, the ‘Black Aegean’, with which to theorize the ways in which colonialist and postcolonialist discourses have staged various encounters between ancient Greece and contemporary Africa. This construct mediates through the plays the later debates about the Black Atlantic and Black Athena.

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2007

Crossroads in the Black Aegean

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The Antebellum Church

Cited by 14 publications

References 0 publications

Shout Glory: Competing Communication Codes Experienced by the Members of the African American Pentecostal Genuine Deliverance Holiness Church

Shout Glory: Competing Communication Codes Experienced by the Members of the African American Pentecostal Genuine Deliverance Holiness Church

Crossroads in the Black Aegean

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