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Ethnic-racial identity (ERI) is an important aspect of youth development and has been well-studied for the last several decades. One issue less discussed is how the construct of ERI translates across different countries and cultures. The purpose of our paper is to describe the sociohistorical context of Germany and implications for the study of ethnic-racial identity in Europe. We discuss the German adaption of the Identity Project, an 8-week school-based ethnic-racial identity exploration intervention developed in the United States. We use this as a concrete example of how we thought through the focal construct of ERI to figure out how and whether it is a salient social identity category for youth in Germany where, in response to the history of racially motivated genocide, discussions of "race" are taboo. Digging into the ways ERI may not be directly transferable to different contexts can help us understand its nature as a socially constructed identity with real-life implications. Our hope with this paper is to further discussion, question our conceptualizations, and acknowledge how a detailed understanding of sociohistorical contexts is needed for the study of ERI.
While W.E.B. Du Bois’s first novel, The Quest of the Silver Fleece (1911), is set squarely in the USA, his second work of fiction, Dark Princess: A Romance (1928), abandons this national framework, depicting the treatment of African Americans in the USA as embedded into an international system of economic exploitation based on racial categories. Ultimately, the political visions offered in the novels differ starkly, but both employ a Western literary canon – so-called ‘classics’ from Greek, German, English, French, and US American literature. With this, Du Bois attempts to create a new space for African Americans in the world (literature) of the 20th century. Weary of the traditions of this ‘world literature’, the novels complicate and begin to decenter the canon that they draw on. This reading traces what I interpret as subtle signs of frustration over the limits set by the literature that underlies Dark Princess, while its predecessor had been more optimistic in its appropriation of Eurocentric fiction for its propagandist aims.