A critical discourse analysis of racial(22)

critical discourse analysis

R.Rogers,M.Mosley/LinguisticsandEducation19(2008)107–131119

downatthetable(72)Iwouldbelike,(73)‘oh,thisisgreat’andher ngerpointstowardstable.(74)but,at

thisage,(75)I’mjustlike,(76)nothinghappenedFayeopensherhand.(77)Likeitjustfrustratesme.

InFaye’s ctionalencounter,Winnieinterruptshermother’spassiveracismwithadirectconfrontation,naming

racism,“Iknowyoudidn’tforgettobakethosebrownies,areyouplayin?...Areyouracist?”Atthewordracist,

Fayeleansforward,addingemphasistoherstatement.Faye’spointhereisthatBlumehaschosenacharacter,thatby

virtueofbeingachildislackingagencyandthereforeisnotabletodirectlyconfrontracismthroughhertalk.Inthis

excerptwealsohearashiftinFaye’sunderstandingoftheboundariesofanti-racism.Thatis,whileshemaintainsthat

nothinghappenedinthebook,shedoesindicatethat“she[Winnie]waslearningalot,too”—astatementthatopensthe

possibilitythatlearningaboutracismandanti-racismmightbeconsideredactions.Similarly,laterintheconversation

shestates,“she’slikeagrowingactivistbutshecan’tdoanythingrightnow.”

5.AmultimodalcritiqueofIggie’sHouse

Aweeklater,Chelsey,Faye,Jenna,andToddreturntotheirdiscussionofwhetheranythingwassolvedinthebook.

Theirfocusshiftsfromthecharacters’actionstotheresponsibilityoftheauthoranddesignersofthebookcovers.

FayearguesthatBlumepresentssuper cialandstereotypicalrepresentationsoftheAfrican-Americanpeopleinthe

book.Chelsey,ontheotherhand,thinksBlumehadlimitationsasanauthorstating,“itwaswrittenbyaWhitelady

inthe60’s...soevenifshehadtriedtoconveysomething,Ifeellikeitwouldn’thavebeenverygood.”Fayeand

JennabothagreethatBlumehassocialresponsibilitiesasawriterandthatsheshouldhavedoneresearchtocreate

moredescriptiveAfrican-Americancharacters.FayewishesBlumehadwrittenadifferentbook—abookinwhichthe

protagonistcouldbecalledontoactivelytakeonracismandwherematerialconditionswouldhavechanged.Jenna

offersanalternativeexplanation,drawingonthesocio-historicaltimeframeofthe1970sthat“maybeshe[Blume]

couldnothavewrittentheendingshewanted...Thatwouldbelikepredictingthefuture,almost.”

AsJennaspeaks,Faye’sgazelingersforseveralsecondsonthecoverofJenna’sbook,sittingonthetable,midway

betweenthem.ShechangestheconversationbyinitiatingamultimodalanalysisofthecoverofIggie’sHouse.

(199)WhatI ndinterestingFayeislookingatJenna’sbookcoverandbeginstoreachovertothebook.(200)

isthatthecoverShepicksupthebookandholdsthebookup,stillconnectedtothetable,turnsthebookaround

andlooksatthecoveroverthebook.Atthesametime,Chelseypicksupherbookandbeginstoopenthecover

ofthebook.(201)thattheyreproduced(202)inthe80’sorthe90’s...(203)hasyourFayepauses,andhereye

focusstaysonthebookhervoicesoftens.typicalWhitegirlShebringsthebookcovertofacethegroup.Her

gazestayssteadyonthecoverofthebook.(204)andyourposterBlackchildrenSherotatesthebookandhas

itinmid-airmovingitclosertoJenna’sdirection.Hergazeriseswhenshesays,“yourposterBlackchildren,”

lookingatJenna rstandthenToddwithafurrowedbrow.Sheplacesthebookonthetable,pushingittoward

Jenna.(205)andeverybodyisjustreallyhappy(206)andthatisnotSheshakesherheadbackandforth“no”

andhershouldersshrugsinsynch.(207)whathappensinthestory,thoughHergazeisdownatthebookthatis

sittingonthetable.(208)Jenna:Right.(209)Itseemsliketheycouldhave(210)beenreallygoodfriends(211)

butthatpictureJennaholdsbookupandexaminesthecoverofthebook.(212)isnotindicative(213)ofwhat

wasgoingon(214)inthestory.Thereisafoursecondsilencefromthegroup.Jennaturnsthebookaroundand

isstudyingthebackofthebook.

Eachmemberofthegrouphasadifferentbookcover.Thebookhasbeenreprintedseveraltimes(1970,1986,and

2001)andeachneweditionhasadifferentbookcover.

ThebookcoverFayeanalyzesfeaturesaphotographofthethreechildreninthebook,asopposedtotheothertwo

thatpresentchild-likedrawings.Thechildren lltheentirecover,withWinnie,theyoungWhiteprotagonist,inthe

center,gazingatthereader/viewer.Sheisleaning,withapleasantfamiliarity,overtheyoungerchild.Thisphotoevokes

theimageofcaringsiblings.BehindherareHerbieandGlennwhosefacesarecut-offfromview.Allofthechildren

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