Nationalism

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Black Witch of Salem Tituba was a woman, a slave, an immigrant, and a foreigner to Puritan ­society—a perfect symbol of Otherness for seventeenth-­century Massachusetts and for our own time. Had she not been sold by Barbados merchants to Samuel Parris (parish minister of Salem Village in 1692) in the West Indies, she also would have been considered illegal. The legality of her status was sanctioned by her servitude as a slave. ” The Other, once defined, becomes a receptacle for fresh projections of Otherness.

An unacknowledged Orwellian state was necessary to protect democracy from its enemies. ”81 The diabolical incantations of presidential war rhetoric functioned overall as an inducement to evacuate the po­liti­cal content of democracy, leaving a largely empty signifier in its place. Although officially promoted, a narrowly circumscribed, truncated, and distorted simulacrum of democracy suspended ad infinitum was the diminished extent of its symbolic import. Shriveled, shrunken, and emptied of meaning, democracy was relegated to the degraded role of a po­liti­cal cipher—a ready and reliable but badly disfig­ured vehicle for sublimating a heavy burden of anxious self-­loathing and transferring that unwanted load to an external object of terror.

Had she not been sold by Barbados merchants to Samuel Parris (parish minister of Salem Village in 1692) in the West Indies, she also would have been considered illegal. The legality of her status was sanctioned by her servitude as a slave. ” The Other, once defined, becomes a receptacle for fresh projections of Otherness. In time, Tituba’s features have been colored by our own projections. ” In The Cru­ cible, Miller describes her as a “Negro slave,” and so she was portrayed in Nicholas Hytner’s 1996 film of the play.

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