Talk about Jackie Robinson and the movie 42, connecting it to the idea of race as representation, cultural hegemony, art vs. commerce, and the black aesthetic using these sources
Sample solution
Dante Alighieri played a critical role in the literature world through his poem Divine Comedy that was written in the 14th century. The poem contains Inferno, Purgatorio, and Paradiso. The Inferno is a description of the nine circles of torment that are found on the earth. It depicts the realms of the people that have gone against the spiritual values and who, instead, have chosen bestial appetite, violence, or fraud and malice. The nine circles of hell are limbo, lust, gluttony, greed and wrath. Others are heresy, violence, fraud, and treachery. The purpose of this paper is to examine the Dante’s Inferno in the perspective of its portrayal of God’s image and the justification of hell.
In this epic poem, God is portrayed as a super being guilty of multiple weaknesses including being egotistic, unjust, and hypocritical. Dante, in this poem, depicts God as being more human than divine by challenging God’s omnipotence. Additionally, the manner in which Dante describes Hell is in full contradiction to the morals of God as written in the Bible. When god arranges Hell to flatter Himself, He commits egotism, a sin that is common among human beings (Cheney, 2016). The weakness is depicted in Limbo and on the Gate of Hell where, for instance, God sends those who do not worship Him to Hell. This implies that failure to worship Him is a sin.
God is also depicted as lacking justice in His actions thus removing the godly image. The injustice is portrayed by the manner in which the sodomites and opportunists are treated. The opportunists are subjected to banner chasing in their lives after death followed by being stung by insects and maggots. They are known to having done neither good nor bad during their lifetimes and, therefore, justice could have demanded that they be granted a neutral punishment having lived a neutral life. The sodomites are also punished unfairly by God when Brunetto Lattini is condemned to hell despite being a good leader (Babor, T. F., McGovern, T., & Robaina, K. (2017). While he commited sodomy, God chooses to ignore all the other good deeds that Brunetto did.
Finally, God is also portrayed as being hypocritical in His actions, a sin that further diminishes His godliness and makes Him more human. A case in point is when God condemns the sin of egotism and goes ahead to commit it repeatedly. Proverbs 29:23 states that “arrogance will bring your downfall, but if you are humble, you will be respected.” When Slattery condemns Dante’s human state as being weak, doubtful, and limited, he is proving God’s hypocrisy because He is also human (Verdicchio, 2015). The actions of God in Hell as portrayed by Dante are inconsistent with the Biblical literature. Both Dante and God are prone to making mistakes, something common among human beings thus making God more human.
To wrap it up, Dante portrays God is more human since He commits the same sins that humans commit: egotism, hypocrisy, and injustice. Hell is justified as being a destination for victims of the mistakes committed by God. The Hell is presented as being a totally different place as compared to what is written about it in the Bible. As a result, reading through the text gives an image of God who is prone to the very mistakes common to humans thus ripping Him off His lofty status of divine and, instead, making Him a mere human. Whether or not Dante did it intentionally is subject to debate but one thing is clear in the poem: the misconstrued notion of God is revealed to future generations.
References
Babor, T. F., McGovern, T., & Robaina, K. (2017). Dante’s inferno: Seven deadly sins in scientific publishing and how to avoid them. Addiction Science: A Guide for the Perplexed, 267.
Cheney, L. D. G. (2016). Illustrations for Dante’s Inferno: A Comparative Study of Sandro Botticelli, Giovanni Stradano, and Federico Zuccaro. Cultural and Religious Studies, 4(8), 487.
Verdicchio, M. (2015). Irony and Desire in Dante’s” Inferno” 27. Italica, 285-297.
Sample Answer
Sample Answer
Jackie Robinson and the Movie “42”: Exploring Race, Cultural Hegemony, Art vs. Commerce, and the Black Aesthetic
Introduction
Jackie Robinson’s groundbreaking journey as the first African American to play in Major League Baseball challenged racial barriers and paved the way for social change. The movie “42” portrays Robinson’s struggles and triumphs, offering a lens through which to examine themes of race as representation, cultural hegemony, art vs. commerce, and the black aesthetic. By analyzing these concepts in the context of Robinson’s story and the film, we can gain insights into the complexities of race relations in American society.
Thesis Statement
Through the portrayal of Jackie Robinson’s story in the movie “42,” we can explore how themes of race as representation, cultural hegemony, art vs. commerce, and the black aesthetic intersect and contribute to a deeper understanding of the challenges and triumphs of African American individuals in a racially divided society.
Race as Representation
In “42,” Jackie Robinson’s character becomes a symbol of hope and resilience for African Americans facing discrimination and segregation. His presence on the baseball field challenges prevailing stereotypes and prejudices, showcasing the power of representation in shaping public perceptions of race. As scholar Stuart Hall notes, representation is not just about reflecting reality but also about constructing meaning and identity. Robinson’s story exemplifies how one individual can challenge dominant narratives and redefine societal perceptions of race.
Cultural Hegemony
Cultural hegemony, as theorized by Antonio Gramsci, refers to the dominance of a particular group’s values, beliefs, and norms over society. In “42,” we see how Robinson’s entry into Major League Baseball disrupts the hegemonic control of white supremacy in the sports world. By breaking down racial barriers and excelling in a predominantly white space, Robinson challenges the status quo and asserts his right to equal opportunities. His success serves as a form of resistance against cultural hegemony, promoting inclusivity and diversity in a historically exclusionary environment.
Art vs. Commerce
The movie “42” navigates the tension between artistry and commercial appeal in its portrayal of Jackie Robinson’s story. While the film aims to entertain and engage audiences, it also grapples with the responsibility of accurately representing Robinson’s historical significance and the broader social implications of his achievements. This tension highlights the complex relationship between art as a medium for cultural expression and commerce as a market-driven enterprise. By balancing artistic integrity with commercial viability, “42” underscores the challenges of conveying important social messages within the constraints of the entertainment industry.
The Black Aesthetic
The concept of the black aesthetic emphasizes the unique cultural expressions and experiences of African Americans in art and literature. In “42,” we see elements of the black aesthetic through Robinson’s resilience, pride, and determination in the face of adversity. His story embodies themes of struggle, triumph, and collective identity that resonate with African American audiences. By centering Robinson’s narrative within the black aesthetic, “42” celebrates his cultural heritage and contributions to the broader tapestry of African American history and experience.
Conclusion
Jackie Robinson’s legacy as a trailblazer in sports and civil rights continues to inspire audiences today through the movie “42.” By exploring themes of race as representation, cultural hegemony, art vs. commerce, and the black aesthetic in Robinson’s story, we gain a deeper understanding of the complexities of race relations in American society. Through his courage, resilience, and unwavering commitment to equality, Robinson challenges systemic injustices and paves the way for a more inclusive and equitable future for generations to come.
