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Jean-Paul Sartre, Europeans, the “Feminine” and the Negritude Poems in the Black Orpheus
Nathalie Nya
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DOI:10.17265/2159-5836/2014.09.001
The Pennsylvania State University, University Park, United States
The paper examines the development of “Negro poetry” from the Negritude movement through the analysis of Sartre as featured in Black Orpheus (1976). Following the analysis of Sartre, the author looks at the Black/White binary and its cultural and political context, which is based on the dominance of Europeans over Blacks. Then the author examines how Blacks have attempted to subvert this binary through alternative political stands, such as the practice of anti-racism, and innovative cultural art and literary forms, such as the Negritude movement. Like Sartre, the author focuses on “Negro poetry” and examines its limits and the challenges it put forth against the White supremacist elements in White dominant culture. The author concludes that while “Negro poetry” reflects a step forward in the anti-racist development of Black political and cultural identities, it is a limiting method of approach that does not subvert enough White dominant culture. This position enables the author to argue that, for example, the essentialist, racist, and gender—and sex—biases within the representations and images of the “feminine” and Black women are not sufficiently critically re-represented in “Negro poetry” of the Negritude movement. The method of this approach is (1) to look at Sartre’s writing in Black Orpheus, (2) to include the secondary literature of this text within my analysis, (3) to examine sections of “Negro poetry” as featured in Black Orpheus, and (4) to critically access the racial, sex, and gender dimensions of “Negro poetry” as they relate to the achievements of the men or artists of the Negritude movement.
Europeans/Whites, Blacks, colonialism, race, anti-racism, gender, negritude, “feminine”
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