It illustrates how their native cultural identity changes throughout the novel and shapes their personal identity into becoming something monstrous....
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Ellis’s bold call in “The New Black Aesthetic,” for example, came during the culture wars, a time when identity politics were in flux.How will future generations conceptualize art in the age of Obama?
By telling their stories as persons who have emerged themselves into a new culture, but at the same retained vestiges of the old, Olaudah Equiano and Maxine Kingston are exemplifying a duality in cultural identity, that is often times lost.
This essay will mainly focus on the theme of cultural identity while reflecting on how my own experiences of learning have been shaped and changed my sense of identity....
Manning and Baruth (2009, p.24) defines culture as “people’s values, languages, religions, ideals, artistic expressions, patterns of social and interpersonal relationships and ways of perceiving, behaving and thinking.” However, in this paper, cultural identity also relate to race, ethnicity, gender, sexual orientation, social class and all that defines the self....
What happened? To answer that, it helps to consider what gave rise to the personal essay’s ubiquity in the first place. Around 2008, several factors converged. In preceding years, private blogs and social platforms—LiveJournal, Blogspot, Facebook—trained people to write about their personal lives at length and in public. As Silvia Killingsworth, who was previously the managing editor of The New Yorker and took over the Awl and the Hairpin last year, put it to me, “People love to talk about themselves, and they were given a platform and no rules.” Then the invisible hand of the page-view economy gave them a push: Web sites generated ad revenue in direct proportion to how many “eyeballs” could be attracted to their offerings, and editorial budgets had contracted in the wake of the recession. The forms that became increasingly common—flashy personal essays, op-eds, and news aggregation—were those that could attract viral audiences on the cheap.
But an ad-based publishing model built around maximizing page views quickly and cheaply creates uncomfortable incentives for writers, editors, and readers alike. Attention flows naturally to the outrageous, the harrowing, the intimate, and the recognizable, and the online personal essay began to harden into a form defined by identity and adversity—not in spite of how tricky it is to negotiate those matters in front of a crowd but precisely because of that fact. The commodification of personal experience was also women’s territory: the small budgets of popular women-focussed Web sites, and the rapidly changing conventions and constrictions surrounding women’s lives, . And so many women wrote about the most difficult things that had ever happened to them and received not much in return. Most sites paid a few hundred dollars for such pieces at most; xoJane paid fifty dollars. When I began writing on the Internet, I wrote personal essays for free.
For some writers, these essays led to better-paying work. But for many the thrill of reaching an audience had to suffice. And placing a delicate part of your life in the hands of strangers didn’t always turn out to be so thrilling. Personal essays cry out for identification and connection; what their authors often got was distancing and shame. Bennett pegged her Slate piece to an essay that Carmichael and I edited at Jezebel, written by a woman who had met her father for the first time as a teen-ager and engaged, under emotional coercion, in a brief sexual relationship with him. Bennett deemed the personal-essay economy a “dangerous force for the people who participate in it.”
By that point, writers, editors, and readers had become suspicious of one another, and the factors that produced the personal-essay boom had started to give way. Some of the online publishers that survive have shifted to video and sponsored posts and Facebook partnerships to shore up revenue. Aggregation and op-eds——continue to thrive, although the takes have perhaps cooled a bit. Personal essays have evidently been deemed not worth the trouble. Even those of us who like the genre aren’t generally mourning its sudden disappearance from the mainstream of the Internet. “First-person writing should not be cheap, and it should not be written or edited quickly,” Gould wrote to me. “And it should be published in a way that protects writers rather than hanging them out to dry on the most-emailed list.”
No more lost-tampon essays, in other words, in the age of Donald Trump. And yet I find myself missing aspects of the personal-essay Internet that the flashiest examples tended to obscure. I still think of the form as a valuable on-ramp, an immediate and vivid indication of a writer’s instincts—one that is accessible to first-time writers and young people who haven’t developed experience or connections. The Internet made the personal essay worse, as it does for most things. But I am moved by the negotiation of vulnerability. I never got tired of coming across a writerly style that seemed to exist for no good reason. I loved watching people try to figure out if they had something to say.