This article postulates the concepts of subjective violence and objective violence in constructing the revolutionary others in The Slave (1964), the ideological play by Amiri Baraka (1934-2004), also known as LeRoi Jones. The blacks are identified as the others in the white dominant societies, and the inconvenience of their livings under no effective ‘Civil Rights’ has faded their legitimated targets. They have detached themselves from their origins and experienced numerous troubles in the dominant imperialist world. Jones’ The Slave focuses on the revolt of a black man against the whites’ subjective and objective violence. The paper has centralized Jones’ concepts of black art and identity related to American ‘Social Movements’. Baraka’s The Slave revolutionarily fights back the whites’ violence. To develop the purpose of this study, Žižek’s concept of violence and his psycho-ideological impacts through the lens of Lacan are to be analyzed. The Slave indicates the centrality of a black massive movement toward the achievement of self-rule, self-confidence, self-reliance, and self-realization. LeRoi Jones, as the leader of the ‘Black Arts Movement’ and founder of ‘Black Power’ of the 1960s, attempts to re-define and support blacks’ literature, art, and culture as the operational mission.
