The invisible man

CONTENTS
INTRODUCTION……………………………………………….…….…….…....3


CHAPTER I. ASPECTS OF BLACK IDENTITY IN RALPH ELLISON'S “THE INVISIBLE MAN”

1. 
   A Brief Biography of Ralph Ellison………………………….……………...6
   
2. 
   The Similarities Between Ellison's life and the Life of his Protagonist…..…9
   

CHAPTER II. RALPH ELLISON AND THE POSTCOLONIAL IDENTITY OF BLACK INVISIBILITY
2.1. The Literary Conventions at Play in Invisible Man ……………….........…17
2.2. Black Authors and White Audiences……………………………………....19


CONCLUSION ………………………………………………….………………28
REFERENCES ………………………….………………………….…………...30

INTRΟDUCTIΟN
“The time has come to establish a new system for teaching foreign languages in our country, which will be a solid foundation for the future. Since we have set ourselves the goal of building a competitive country, from now on, graduates of schools, lyceums, colleges and universities must have a perfect knowledge of at least 2 foreign languages. This strict requirement should become the main criterion for the activity of the head of every educational institution”¹
Shavkat Mirziyoyev
People love a good story. A good story can be intriguingly informative, a good story can well up deep emotions and a good story can carry culture, history and tradition. It was through storytelling that many ancient cultures preserved and passed down their understanding of the world, their rites and their rituals. It was, and still is, through stories that children become familiar with cultural and societal norms and mores. Stories are important to people, are one of the most important forms of verbal and written communication. People learn about each other through storytelling, solve problems by telling stories and pass on their most important insights about the world through stories. A good story can persuade masses to follow an ideal, or an individual to join a cause.
But there has always been a catch: stories, it is assumed, cannot be scientific, cannot generate new knowledge; the possibility of bias is too inherent in the nature of a personal narrative, and bias is anathema to the scientific community. However, scientists have started to think differently about the relationship between personal narratives and their scientific rigor — to think differently about the sources of our knowledge about culture and community.
Racial discrimination in the United States has been a major issue since both the colonial and the slave era, and writing on the racist history is not the only task of historians, but it is also done by creative writers now, who write about the past in order to establish a tradition for the present. The novel The Invisible Man took Ralph Ellison a good amount of time to craft his only masterpiece, The Invisible Man. It is known for its richness in Black folklore, the use of metaphor and symbolism to depict the racial discrimination in the United States. Due to this, the novel claimed its position in American literature and become a reference for the African American culture and history. Since the beginning of the colonial and slave era, segregation becomes a prevalent problem in the United States. Racial segregation was spread widely after the wave of immigration. Furthermore, the study focuses on social and psychological problems facing Black Americans.
In the early 1940s, Ellison started out writing a novel about a captured American pilot in a Nazi prisoner-of-war camp. But during the summer of 1945, visiting friends in Vermont while on sick leave from the Merchant Marine, the opening lines of Invisible Man came to him, prompting him to write an entirely different novel.
Ellison described Invisible Man, published in 1952, as "a novel about innocence and human error, a struggle through illusion to reality." Ellison claimed that his novel comprised "a series of reversals," providing a "portrait of the artist as rabble-rouser." Responding to questions concerning the narrator's journey as a reflection of the black struggle for justice and equality, Ellison contended that he is "not concerned with injustice, but with art," pointing out that there is "no dichotomy between art and protest". To illustrate, he cited works such as Cervantes' Don Quixote and Dostoyevski's Notes from Underground, arguing that these literary works not only embody protest against social and political constraints, but ultimately protest against the limitations of human life itself.