In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Black Health: The Social, Political, and Cultural Determinants of Black People's Health by Keisha RayChioma Dibia (bio)Black Health: The Social, Political, and Cultural Determinants of Black People's Health by Keisha Ray New York: Oxford University Press, 2023Prior to the COVID-19 pandemic, bioethics had engaged only sparingly with the concept of racism. In 2016, Danis and colleagues published an article exhorting bioethicists to engage more (...) meaningfully with the concept of racism—given its impact on health and well being—and to consider strategies for combating it within and outside clinical settings (Danis et al. 2016, 5). While this paper generated considerable debate regarding how far bioethics ought to go in its engagement with racism (Baker 2016, 16; Weddle 2016, 32; Fuller 2016, 29), the focus of the field of bioethics quickly turned to more traditional subjects of bioethical inquiry, including ethical issues arising in doctor-patient relationships and new reproductive technologies. However, since the COVID-19 pandemic and the murder of George Floyd during that time, racism has received greater attention in the bioethics literature and Keisha Ray's Black Health arrives just in time to urge us to ensure that the current focus on the impact of racism on the health of racially minoritized people is not short-lived (Ray 2023, 21; BBC News 2020).The overarching argument in Ray's Black Health is that Black people's poor health does not arise from innate biological deficiencies but stems from their experience of racism at the structural, institutional, and interpersonal levels. Ray stresses that far from being solely a feature of America's past, racism [End Page 105] continues to taint Black people's relationship with the healthcare system and other societal institutions. In each chapter, Ray focuses on a specific racial disparity in health to illustrate how racism limits Black people's access to the social determinants of health and thereby contributes to their poor health. To set the context for this discussion, Ray provides an introductory chapter where she unpacks key terms including "racism," "racial disparities," and "the social determinants of health." In this chapter, Ray also clearly outlines the structure of the text and provides a summary of each chapter. This chapter provides the blueprint for the rest of the book, as in it, Ray provides a clear statement of the style, content, and purpose of Black Health.The first racial disparity that Ray considers is Black birthing mortality, and in chapter 1, Ray traces this to the history of slavery and eugenic policies which have shaped the relationship between physicians and Black women. As Ray explains, since Black people were forcibly brought to the United States, the government has sought to control Black women's reproductive lives and has often relied on physicians to effect control. She demonstrates how harmful stereotypes about Black women, including their so-called hardiness, originated in medical literature and have been used to deny pregnant Black women humane care. According to Ray, "[c]linicians' attitude and behaviors towards Black pregnant people still reflect an enslaved and slave-owner mentality, and this has great consequences for the survival of Black pregnant people." (32) By highlighting the birthing experiences of Serena Williams and Shalon Irving, Ray dispels the assumption that wealth or academic qualifications are a panacea for Black birthing mortality and shows how racism can be deadly for all Black pregnant women, irrespective of socioeconomic status. Ray also considers how income and housing inequities affect Black pregnant women and the cumulative effect of weathering on their health as well as that of their unborn children. This chapter most clearly shows how interpersonal, institutional, and structural racism operate and intersect to render pregnancy and childbirth a potentially dangerous experience for Black women.Next, Ray turns to racial disparities in clinical pain management and continues to explore the impact of historically racist beliefs and false stereotypes on the care of Black people. However, in this second chapter, Ray delves more deeply into the role of medical literature—both historical and contemporary sources—in perpetuating false assumptions about the Black body. She demonstrates how the historical portrayal of the Black body as not only less than human... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 47, no. 1. © 2021 by Feminist Studies, Inc. 147 Eric Andrew James The Representational Necropolitics of Black Women in Zombie Dystopia Video Games Though Stuart Hall defends popular representation as an important terrain of political struggle, he also argues that images of difference are dominated by “racialized regimes of representation” manifest in stereotypes and invisibilities.1 These ensure that marginal identities are reduced, essentialized, and rendered (...) other. One of the most powerful tools for this form of silencing in the popular representation repertoire is the notion of an established genre. In US popular culture, creators and critics alike often position people who experience multiple layers of oppression as constitutively outside the expectations of existing genres. Their absence is attributable not simply to creator racism but also to that genre’s relationships to intersecting categories of difference and domination, such as race and gender. Beginning with the preponderance of representational violence in popular media, this article draws from existing work by feminists of color in order to model a critique of US representational precarity. To illustrate the political tensions in popular US culture, I stage my intervention into a medium whose industry has had particularly fraught struggles with representation: video gaming. There, I focus specifically on 1. Stuart Hall, “The Spectacle of the Other,” in Discourse Theory and Practice: A Reader, ed. Margaret Wetherell, Stephanie Taylor, and Simeon J. Yates. (London: Sage, 2001), 325–44. 148 Eric Andrew James recent attempts to represent Black women, whom the gaming industry has held up as emblematic of difference and diversity. 2 These attempts are marred by predictable disasters and pitfalls. In particular, I discuss how the representational politics of Black women in popular zombie dystopia games repeats a similar violence as the previous silencing of Black women in these spaces. The gaming industry’s struggles with representation in the wake of Gamergate are demonstrative of broader tensions in Black women’s representation in popular media. Thus, while I am focused on video games, I also intend this analysis to reflect on feminist studies of the relationship between genre and representation. I advance existing scholarship on video game representations of Blackness by theorizing violence enacted at the intersections of race, gender, and sexuality in game genres. Specifically, I position this intervention as a point of departure from TreaAndrea M. Russworm’s chapter in Gaming Representation: “Dystopian Blackness and the Limits of Racial Empathy in The Walking Dead and The Last of Us.”3 This chapter provides a compelling critique of the relationship between the dystopian game genre and Black representation, highlighting the lack of self-reflexivity in mass-market representations of Blackness. Expanding this project by taking another look at her objects of study—The Last of Us (2013– 2014) and Telltale’s The Walking Dead (2012)—I argue that taking Black women’s multiple jeopardy as foundational to the zombie dystopia genre offers a deeper look at the grammars of representational violence. My use of multiple jeopardy refers to Deborah K. King’s theorization of how multiple layers of oppression exponentially multiply individual disadvantages. As King describes, “The modifier ‘multiple’ refers not only to several, simultaneous oppressions but to the multiplicative 2. AnnaMaria Jackson-Phelps, “Representation Matters: Positive Portrayals of Black Women in Video Games,” Medium, February 28, 2017, https:// medium.com/legendary-women/representation-matters-positive-portrayals -of-black-women-in-video-games-c96cf9f66fdf; Jef Rouner, “Would You Believe There Have Been Only 14 Playable Black Women in Gaming?” Houston Press, June 5, 2015, https://www.houstonpress.com/arts/would-you-believethere -have-been-only-14-playable-black-women-in-gaming-7484017. 3. TreaAndrea M. Russworm, “Dystopian Blackness and the Limits of Racial Empathy in The Walking Dead and The Last of Us,” Gaming Representation: Race, Gender, and Sexuality in Video Games, ed. Jennifer Malkowski and TreaAndrea M. Russworm (Bloomington: Indiana University Press, 2017), 109–28. Eric Andrew James 149 relationships among them as well.”4 These layers of oppression are often contradictory and may leave no avenues for action; the expectations placed on one for their race become impossible to fulfill because of the contradictory expectations placed on them for their gender or sexuality. This multiple jeopardy thus introduces... (shrink)

Theorists of Orientalism and postcolonialism argue that novelists betray political and cultural anxieties when characterizing "the Other." Shameem Black takes a different stance. Turning a fresh eye toward several key contemporary novelists, she reveals how "border-crossing" fiction represents socially diverse groups without resorting to stereotype, idealization, or other forms of imaginative constraint. Focusing on the work of J. M. Coetzee, Amitav Ghosh, Jeffrey Eugenides, Ruth Ozeki, Charles Johnson, Gish Jen, and Rupa Bajwa, Black introduces an interpretative lens that (...) captures the ways in which these authors envision an ethics of representing social difference. They not only offer sympathetic portrayals of the lives of others but also detail the processes of imagining social difference. Whether depicting the multilingual worlds of South and Southeast Asia, the exportation of American culture abroad, or the racial tension of postapartheid South Africa, these transcultural representations explore social and political hierarchies in constructive ways. Boldly confronting the orthodoxies of recent literary criticism, Fiction Across Borders builds upon such seminal works as Edward Said's Orientalism and offers a provocative new study of the late twentieth-century novel. (shrink)

In what ways is comedy subversive? This vital new book critically considers the importance of comedy in challenging and redefining our relations to race and racism through the lens of political correctness. -/- By viewing comedy as both a constitutive feature of social interaction and as a necessary requirement in the appraisal of what is often deemed to be ‘politically correct’, this book provides an innovative and multidisciplinary approach to the study of comedy and popular culture. In doing so, (...) it engages with the social and cultural tensions inherent to our understandings of political correctness, arguing that comedy can subversively redefine our approach to ‘PC Debates’, contestations surrounding free speech and the popular portrayal of political correctness in the media and society. Aided by the work of both Slavoj Žižek and Alenka Zupančič, this unique analysis adopts a psychoanalytic/philosophical framework to explore issues of race, racism and political correctness in the widely acclaimed BBC ‘mockumentary’, The Office (UK), as well as a variety of television comedies. -/- Drawing from psychoanalysis, social psychology and philosophy, this book will be highly relevant for postgraduate students and academic researchers studying comedy, race/racism, multiculturalism, political correctness and television/film. (shrink)

In Spike Jonze’s Her (2013), we watch the film’s protagonist, Theodore, as he struggles with the end of his marriage and a growing attachment to his artificially intelligent operating system, Samantha. While the film remains unique in its ability to cinematically portray the Lacanian contention that “there is no sexual relationship,” this article explores how our digital non-relationships can be re-approached through the medium of comedy. Specifically, when looked at through a comic lens, notable scenes from Her are examined for (...) the potential they provide in affording a self-decentrement which allows us to traverse the fantasies that structure our non-relations. (shrink)

How can one make sense of our current political, ecological and technological dilemmas through the lens of Grant Sputore’s I Am Mother (2019)? Well-received, the film has been commended for its account of the increasing role and impact of artificial intelligence and its relation to our ongoing ecological dilemmas and potential catastrophe. While these issues are played-out through the on-screen relationship between robotic mother and human daughter, the film can also be used to help shed light on our current ideological (...) predicaments. With a narrative that steers towards our preference for cynical detachment, apathy and resignation, this review draws upon Lacan’s notion of the big Other, and its relation to the subject, in order to provide further discussion on the film’s ambiguous ending and the deeper sense of impotence that it accurately portrays with regards to our current political malaise. (shrink)

Researchers investigating gender and anger have consistently found that White women, but not White men, are evaluated unfavorably when experiencing anger in the workplace. Our project originally aimed to extend findings on White women’s, Black women’s, and White men’s workplace anger by examining whether evaluations are exacerbated or buffered by invalidating or affirming comments from others. In stark contrast to previous research on gender stereotyping and anger evaluations, however, results across four studies (N= 1,095) showed that both Black (...) and White women portrayed as experiencing anger in the workplace were evaluatedmore favorablythan White men doing so. After Study 1’s initial failure to conceptually replicate, we investigated whether perceivers’ evaluations of women’s workplace anger could have been affected by the contemporaneous cultural event of #MeToo. Supporting this possibility, we found evaluations were moderated by news engagement and beliefs that workplace opportunities are gendered. Additionally, we found invalidating comments rarely affected evaluations of a protagonist yet affirming comments tended to favorably affect evaluations. Overall, findings suggest the need for psychologists to consider the temporary, or perhaps lasting, effects of cultural events on research outcomes. (shrink)

Black feminist theory has shown how respectability politics shape cultural discourses about African American women's sexuality. Responding to ‘silent’ depictions resulting from racial uplift strategies among turn-of-the-century middle-class black women, subsequent work theorises alternative discourses that portray a desiring and agentic black female sexual subject. Locating these alternative discourses in a ‘politics of irreverence’, I argue that respectability/irreverence oppositional logic narrowly frames theorising of black female sexuality. Although recent work emphasises dialectical – rather than oppositional – (...) dynamics, this analytic approach is unevenly applied. Binary frameworks continue to shape analyses of women's rap. Drawing upon lyrics of rappers Lil’ Kim and Foxy Brown, I highlight three discursive strategies whereby women rappers render the respectability/irreverence binary problematic: (1) using irreverence to claim respectability, (2) ‘claiming both’ or, embracing contradiction, and (3) beating to the punch. This analysis shows how dialectical approaches account for potential ‘third spaces’ where more complex representational politics are possible. (shrink)

Wearing black make-up to impersonate black individuals has become highly controversial in many countries, even when it is part of long-standing cultural traditions. Prominent examples of such traditions include Saint Nicolas celebrations in the Netherlands (which feature a black character known as “Black Pete” who hands out candy to children), Epiphany parades in Spain (which feature impersonations of the biblical king Balthasar who is traditionally portrayed as black) and the annual Zulu parade in New Orleans (...) (which features impersonations of South African Zulu warriors). In this article, I challenge the widely held view that black make-up traditions are categorically wrong. Specifically, I argue that these traditions can be morally vindicated if (i) the large majority of individuals who help to maintain them do not believe that they denigrate black people; (ii) the relevant traditions do not depict black people in denigrating ways; and (iii) the relevant traditions are not gratuitously offensive. While the Dutch Saint Nicholas tradition fails to satisfy these conditions, the New Orleans Zulu tradition is found to satisfy them, as is the Spanish Epiphany tradition in certain cases. I end by identifying another set of conditions under which black make-up traditions might be morally justified. (shrink)

This article is the attempt of an historically oriented analysis focused on the role of Nigerian music as a cultural hub for the export of African cultural influences into the Black diaspora in the United States and its anticipation by the Free Jazz/Avantgarde-scene as well as the import of key-values related to the Black Power-movement to the African continent. The aim is to demonstrate the leading role and international impact of Nigeria's cultural industry among sub-saharan African nation states (...) and its specific ability to absorb and incorporate elements of Western culture. -/- After a short discussion of African influences on jazz music in general and the socio-political, cultural, and artistic context in which Free Jazz emerged, examples for the articulation of African consciousness among influencing key figures such as saxophonist John Coltrane or the Art Ensemble of Chicago are being presented. Furthermore, the personal and ideological links between the Avantgarde Jazz-scene and the Black Power-movement - especially the Black Panther Party - are made transparent. -/- In a second step the central influence of the Nigerian drum-pioneer Babatunde Olatunji on the Africanization of US-Jazz musicians, his personal and creative impact on John Coltrane, as well as the Black Power-movement is being highlighted. On the other hand, Coltrane, Free Jazz, and the Black Panther Party are being portrayed as a central creative and ideological turn in the career and work of Fela Kuti and towards political activism and his efforts to implement and apply the Africa-inspired Black Power -struggle of the US on the African continent in order to fight post-colonial forms of oppression. -/- . (shrink)

A significant factor undermining real racial reconciliation in post-1994 South Africa is widespread resistance to shared historical responsibility amongst South Africans racialised as white. In response to the need for localised ‘white work’, this article aims to contribute to the uprooting of white denialism, specifically amongst Afrikaans-speaking Christians from Reformed backgrounds. The point of entry is two underexplored, challenging, contextualised crucifixion paintings, namely, Black Christ and Cross-Roads Jesus. Drawing on critical whiteness studies, extensive local and international experience as a (...) ‘participatory’ facilitator of conflict transformation and his particular embodiment, the author explores the creative unsettling potential of these two prophetic ‘icons’. Through this incarnational, phenomenological, diagnostic engagement with Black Christ, attention is drawn to the dynamics of family betrayal, ‘moral injury’ and idolisation underlying ‘white fragility’. ‘White fatigue’ is challenged by stressing the Biblical nature of Cross-Roads Jesus’ confrontational, ‘ugly’ portrayal of the systemic violence of apartheid and colonialism. It is also argued that a combination of Louw’s shocking portrayal of an enraged, emaciated township Jesus with the explicit depiction of white historical responsibility in Black Christ increases the counter-cultural potential of these icons to disrupt denial amongst white South African Christians. However, the realisation of this potential will require the cultivation of more capacity to work creatively with the intense emotional, moral, spiritual discomfort brought to the surface by this type of religious icon.Contribution: The article argues for a contextualised, South African engagement with the crucifixion of Christ, through an embodied interpretation of two anti-apartheid religious paintings. It makes a contribution to critical whiteness studies and practical theology and thus fits into the interdisciplinary, hermeneutical scope of HTS. (shrink)

This article questions the societal and cultural image of Black women as strong and suggests that this seemingly affirming portrayal is derived from a discourse of enslaved women’s deviance. In highlighting connections between perceived strength and physical size among Black women, the analysis extends current feminist theory by considering the ways in which the weight many strong African American women carry is reflective of the deviant and devalued womanhood that they are expected to embody both within and (...) outside their culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.3 (2002) 483-500 [Access article in PDF] Greek Origins and Organic Metaphors: Ideals of Cultural Autonomy in Neohumanist Germany from Winckelmann to Curtius Brian Vick That the educated classes of late eighteenth- and nineteenth-century Germany were increasingly captivated by images of both nationality and Greek antiquity is a fact long noted and long puzzled over. This seemingly strange confluence of cultural tendencies does, (...) however, help explain why studying the drawn-out debates among German neohumanist scholars on the cultural origins of the Greeks ultimately offers a fresh perspective on certain problems of German national identity—in this case, on the ambivalent relationship to things foreign in that period of German history.Scholarly attention has recently been drawn to this question as part of the conflict over Martin Bernal's Black Athena, the first volume of which argued that nineteenth-century German classicists' denial of an Egyptian contribution to early Greek cultural development revealed their xenophobic tendencies. While Bernal pointed to racism as the prime motive for this repudiation of African and later of Semitic influence on the Greeks, he also invoked several of the other "-isms" that have proven so fruitful yet confusing for efforts to understand the intellectual and cultural climate of late eighteenth and early nineteenth-century Germany: romanticism, historicism, organicism, and of course neohumanism. 1 [End Page 483]The present essay is not intended to be another of the past decade's many responses to Bernal. Attention must be paid to that discussion, but it is important to recognize the extent to which this debate reflects a much broader disagreement about German attitudes in the romantic and nationalist eras. Some scholars portray the more cosmopolitan side of the romantic inheritance and stress its continued fascination with foreign literatures and cultures. Others, however, seem more like Bernal in citing the historicist turn to nature and nationality either to illustrate or to explain an alleged German xenophobia and hypersensitivity to issues of ethnic and cultural purity. 2It is to this wider question of the cultural legacy of German classicism and romanticism, historicism and organicism, that I would like to direct attention in this essay. Rather than invoking these "-isms" in an effort to explain the various positions taken in the debate about Greek origins, I hope to reverse the process and examine the relevant texts in an effort to clarify the broader implications of these issues of cultural purity and cultural borrowing, from the time of Winckelmann's first assertion of Greek originality through the rise of new kinds of nationalism and racism in the Wilhelmine era. 3 I shall show that belief in the importance of Greek civilization's Asian and even Egyptian cultural heritage remained strong for decades, even after Karl Otfried Müller's seemingly definitive rejection of such a connection in the 1820s. Moreover, most of the figures engaged on both sides of the debate made remarkably similar use of historicizing organic metaphors to help reconcile the twin values of national autonomy and cultural transmission, both so central to the self-conception and national identity of the German Bildungsbürgertum in this period. Continuity and connection with the environment, not purity and isolation from it, were the hallmarks of such organicist thinking across a wide spectrum of romantic, neohumanist, and idealist commentators. Only in the second half of the nineteenth century, with the passing of romantic values, the transformation of historicism into historicist positivism, and the development of new meanings attached to images of biology and race, would this situation slowly begin to change. The Greeks, History, and Culture: Foundational Perspectives Many of the considerations central to discussions about the origins of the Greeks and about the role of cultural mixing generally can be seen in the debate's [End Page 484] two most important early statements, the denial of Egyptian influence by Johann Joachim Winckelmann in his History of Ancient Art of 1764 and the successive sharp critiques of this view by an otherwise admiring Johann Gottfried... (shrink)

This chapter contains sections titled: The Rip‐Off Account Musical Traditions Recorded Music: The Blues Rock and Race The Music Business Sensibilities The Evolution of Taste Conclusion Notes.

The Continuous Parameter Estimation Model is applied to develop individual genomic-level heritabilities for the latent hierarchical structure and developmental dynamics of Life History (LH) strategy LH strategies relate to the allocations of bioenergetic resources into different domains of fitness. LH has moderate to high population-level heritability in humans, both at the level of the high-order Super-K Factor and the lower-order factors, the K-Factor, Covitality Factor, and General Factor of Personality (GFP). Several important questions remain unexplored. We developed measures of genome-level (...) heritabilities employing an American sample of 316 monozygotic (MZ) and 274 dizygotic (DZ) twin dyads and a Swedish sample of 863 MZ and 475 DZ twin dyads. This novel heritability index measures individual genetic transmissibility, therefore opening new avenues for analyzing complex interactions among heritable traits inaccessible to standard structural equations methods. For these samples: (1) moderate to high heritability of factor loadings of Super-K on its lower-order factors is demonstrated, evidencing biological preparedness, genetic accommodation, and the gene-culture coevolution of biased epigenetic rules of development; (2) moderate to high heritability of the magnitudes of the effect of the higher-order factors upon their loadings on their constituent factors, evidencing genetic constraints upon phenotypic plasticity; and (3) that heritability of the LH factors, of factor loadings, and of the magnitudes of the correlations among factors are weaker among those with slower LH speeds, demonstrating that inter-individual variation in transmissibility is a function of individual socioecological selection pressures. (shrink)

Feminist Theory and Pop Culture (Second Edition) synthesizes feminist theory with modern portrayals of gender in media culture. This updated text provides comprehensive and interdisciplinary scholarship focused on topics related to: - Historical examination of feminist theory - Application of feminist research methods - Feminist theoretical perspectives such as the male gaze, feminist standpoint theory, Black feminist thought, queer theory, masculinity theory, theories of feminist activism, and postfeminism. - Contributor chapters cover a range of topics from Western (...) perspectives on belly dance to television shows such as Girls, Scandal, and Orange is the New Black. - Feminist theory and the wave of feminism, including a discussion of the fourth wave - Pedagogical features - Suggestions for further reading and discussion questions for classroom use Feminist Theory and Pop Culture was designed for classroom use and has been written with an eye toward engaging students in discussion. The book's polished perspective on feminist theory juxtaposes popular culture with theoretical perspectives which have served as a foundation for the study of gender. This interdisciplinary text can serve as a primary or supplemental reading. (shrink)

The total ideology of the revolutionary-political themes of Ukrainian consciousness of the twentieth century, the poetization of the absurdly inverted hierarchy of values, was opposed by the new generation of artists with their philosophical and ethical orientation of their creativity. As I.Franko notes, they "... sought a completely modern European way to portray the peculiarity of the life of the Ukrainian people," revealing the unique collisionality of human existence, the diversity of psychological types, ideological orientations, and the human experience of (...) its existence on the background of this difficult time. However, Ukrainian writersphilosophers who talently laid the foundations of national culture, but are now returning to the generations of the Shattered Renaissance, filling black and bloody spots of troubled history of Ukraine. Among them are V. Pidmogylny, B. Antonovenko-Davidovich, G. Kosinka, D. Falkivsky, M.Ivchenko, T.Osmachka, E.Pluzhnik. This is a non-exhaustive list of the leading figures of the post-revolutionary period who were removed from the creative field, whose works are the golden fund of Ukrainian culture. (shrink)

Chapter Seven discusses Edgar Ulmer's The Black Cat as the creation of a high modernist European émigré working in a lowbrow American genre, the horror movie. Ulmer portrays a self-destructive generation of Europeans permanently scarred by the horrors of World War I. Into their world, he introduces a young American couple on their honeymoon, who, in their naïveté, are almost destroyed by the mad Europeans, but escape their satanic clutches in the end. Hoping to succeed in his newly adopted (...) homeland, Ulmer seems to turn his back on his European heritage as a dead end, and yet he cannot help suggesting the cultural superiority of his sophisticated European characters. The Black Cat takes its place in a long line of European works critical of American culture, while at the same time raising serious doubts about Europe's future in the 1930s. (shrink)

For more than a century, Harlem has been the epicenter of black America, the celebrated heart of African American life and culture—but it has also been a byword for the problems that have long plagued inner-city neighborhoods: poverty, crime, violence, disinvestment, and decay. Photographer Camilo José Vergara has been chronicling the neighborhood for forty-three years, and Harlem: The Unmaking of a Ghetto is an unprecedented record of urban change. Vergara began his documentation of Harlem in the tradition of (...) such masters as Helen Levitt and Aaron Siskind, and he later turned his focus on the neighborhood’s urban fabric, both the buildings that compose it and the life and culture embedded in them. By repeatedly returning to the same locations over the course of decades, Vergara is able to show us a community that is constantly changing—some areas declining, as longtime businesses give way to empty storefronts, graffiti, and garbage, while other areas gentrify, with corporate chain stores coming in to compete with the mom-and-pops. He also captures the ever-present street life of this densely populated neighborhood, from stoop gatherings to graffiti murals memorializing dead rappers to impersonators honoring Michael Jackson in front of the Apollo, as well as the growth of tourism and racial integration. Woven throughout the images is Vergara’s own account of his project and his experience of living and working in Harlem. Taken together, his unforgettable words and images tell the story of how Harlem and its residents navigated the segregation, dereliction and slow recovery of the closing years of the twentieth century and the boom and racial integration of the twenty-first century. A deeply personal investigation, Harlem will take its place with the best portrayals of urban life. (shrink)

The Starz series Black Sails, while serving as a prequel to Treasure Island and thus providing intriguing backstories for such characters as James Flint, Billy Bones, and (of course) Long John Silver, portrays a realistic account of early eighteenth century pirate life in the Caribbean. In doing so, the show conveys intriguing insights into and applications of social contract theory reasoning, and both explicitly and implicitly asks questions about how those applications, especially as they pertain to the nature of (...) government, democracy, equality, tolerance, and justice, help us understand our own society more fully. (shrink)

What do "raves" have to do with eighteenth-century Romanticism, or the latest communication technologies with historical ideas about language, media, and culture? Today’s culture dazzles us with technological marvels and media spectacles. While we find them entertaining, just as often they are troubling — they seem to contradict common sense, eliciting such questions as What is real? or What is reality? and What is language? or What does language do? These questions, once confined to scholars, have become everyone’s (...) concern. Some of the best answers might be found in an unexpected source: Romanticism. Too often we bring the values of the Enlightenment, particularly that of reason, to critique phenomena not inherently rational, such as pop culture or the Internet. This means that much criticism of current culture already has an intellectual foundation antagonistic to it — inviting postmodern arguments that suggest history has ended and reality is an illusion. In contrast, Romanticism, a cultural movement founded in Germany and England during the late eighteenth century, offers us an archive of concepts surprisingly sensitive to these problems. The Romantics were poets, dreamers, and politicians who advanced ideas that anticipated much contemporary thinking. David Black has organized these ideas systematically, and has then applied them to key issues in communications, such as representation, audience, and the information society, as well as to significant debates in cultural studies. As a result, The Politics of Enchantment offers a new theory of media and culture that is grounded in intellectual history, yet as feverishly current as the latest digital device. (shrink)

Since their enslavement in the U. S. Black Americans have longitudinally suffered some of the most heinous crimes against humanity. Yet, despite cultural policies intended to discriminate against, marginalise, oppress, and subjugate them, Black folx have unfailingly demonstrated remarkable creative resilience. This conceptual article explores three research questions: (1) in what ways have exclusionary U. S. cultural policies discouraged Black Americans’ cultural engagement, (2) how have Black Americans responded to exclusionary cultural policies in the U. S. (...) and (3) what longitudinal impacts might exclusionary cultural policies have on Black Americans’ creative and expressive lives, and the U. S. creative sector? This article used Critical Race Theory (CRT) and interpretive policy analysis to identify the ways in which racism has and continues to shape Black Americans’ creative and expressive lives. I conclude this article by making the case for a research agenda that comprehensively investigates Black Americans’ cultural engagement as well as other historically and continuously oppressed groups. (shrink)

This paper sheds light on the significance of gastronomy as an emblem of cultural identity in Toni Morrison’s God Help the Child. It shows how Morrison imbues the narrative with instances of food and drinks which reflect certain racial stereotypes to which Lula Ann is prone during her struggle to reach self-definition. The colour, taste, diversity, quality and manners of food are all rigorously woven to portray Lula’s Journey. Onomastically, some characters and places are purposefully named after food such as (...) Sweetness, Whisky land, Raisin, and Mrs. Queen Olive; all of them represent an outstanding stage in Lula’s identity development. Finally, food takes a further dimension in the way it reflects the spiritual food that Lula receives throughout her journey. (shrink)

This book examines the origins of philosophy in Greek Antiquity and considers key moments of philosophic history as related to revolutionary change, from the French Revolution of 1789 to the May Events of 1968 and beyond. David Black reads Hegel's philosophy--which seems to come to the fore at various "birthtimes in history"--as anticipating Marx's critique of capital, in which the logic of the system intimates a realm beyond it.

Much of Africana philosophy concerns itself with the social and political; that is, those issues that relate to “racism” or “racialization” as suffered by Africana persons. Within this understanding, Africana persons become defined by and studied through theories which presume a shared anthropology with their white counterparts. This essay argues that Africana philosophy would benefit in thinking beyond “race” and “racialization” towards a theorization of the cultural aspects of Africana persons as the basis of our study and understanding of Africana (...) persons. Specifically, this essay theorizes the relationship between mytho-logos and the culturalogic as offering a new lens through which to analyze the range problems confronting Africana philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Petrification of Cleopatra in Nineteenth Century Art MARGARET MALAMUD MARTHA MALAMUD What did Cleopatra look like? Was she a Roman, a Ptolemaic Greek, an Egyptian, an African? Was she a precocious child, a devastatingly beautiful seductress, an astute practitioner of imperial politics, a murderess, a longnosed blue-stocking? [Figure 1] Cleopatra is dead, but “Cleopatra ” exists in the eye of the beholder. What other human being has been (...) portrayed in such “infinite variety”? In her life, and even more in her afterlife, the protean queen of the Nile has, like a shaft of sunlight focused through a magnifying glass, clarified and set ablaze underlying ideologies and overt assertions of race and gender, manifested differently in disparate times and places. Here we consider two case studies of nineteenth century representations of Cleopatra in stone: William Wetmore Story’s Cleopatra (1860) and Edmonia Lewis’s The Death of Cleopatra (1876). [Figarion 28.1 spring/summer 2020 Figure 1: Bust of Cleopatra VII, 40–30 bce, Altes Museum, Berlin. 32 the petrification of cleopatra ure 2] Story, a wealthy and well-connected white expatriate living in Rome, gave the famous queen features that deviated from classicizing portrayals of the queen and struck critics as startling and original. American artist Edmonia Lewis, of Black West Indies / Ojibwa Native American descent, lived and worked in Rome, but as a poor, racially-mixed female artist she moved in quite different social circles than Story. Her decision to sculpt the Egyptian queen as a white woman Figure 2: William Wetmore Story, Cleopatra, 1858; this carving 1869, Metropolitan Museum of Art, New York. Margaret Malamud, Martha Malamud 33 dying in agony during the last moments of her suicide shocked and fascinated critics. Both works display a very different understanding of women, the Orient, the Classical past, and the exotic Black other. We understand and contextualize these strikingly different representations of Cleopatra by looking at the comments of contemporary writers and critics. Lewis and her Death of Cleopatra inspired the twenty-first century Black poet Tyehimba Jess, with whose poetic evocation of Lewis and her work we conclude. In the middle of the nineteenth century, when most portrayals were of Cleopatra as a classical Greek beauty, William Wetmore Story boldly gave the famous queen African features. Story, an American emigré artist and “cultural influencer,” was living in Rome on the eve of the American Civil War. While there, he sculpted Cleopatra, which he began in 1858, completed in 1860, and exhibited to great acclaim at the 1862 World Exposition in London. Story was from Boston, where abolitionist sentiments were prominent, and was well aware of racial politics in the United States. Concerned by British support for the American South, he wrote a series of letters from Rome to the British Daily News in December of 1861 in which he denounced the institution of slavery, explained why he was devoted to the Union, and urged British neutrality in the Civil War. His Cleopatra was a provocative abolitionist statement. From the late eighteenth century on, free African Americans faced two pressing tasks: to refute charges that they were racially inferior to white people and to insert themselves into the historical record. ManyAfrican Americans and their supporters argued that there was a clear connection between ancient Africa (Ethiopia and Egypt) and the classical world based on their reading of classical texts and late eighteenth and early nineteenth century world histories. Educated African Americans documented the debt of Greece and Rome to Egyptian civilization, and repeatedly pointed out that Egypt was a major source of the cultural achievements of Greco-Roman an- 34 the petrification of cleopatra tiquity.It was conventional wisdom that Egyptian civilization influenced Greece. What was new and controversial was the assertion of a racial connection between ancient Egyptians and modern African Americans. Abolitionists used this constructed racial history to argue that the magnificent civilization of ancient Egypt and its influences on Greek and Roman culture were proof that African Americans were not racially inferior and therefore fully worthy to be citizens with equal rights in the American Republic.1 By the 1860s it had become a commonplace in American abolitionist circles that antiquity ’s most famous queen was... (shrink)

Out of many years of work with children and youth, Algernon D. Black, a Leader of the American Ethical Culture Movement, and Head of the Ethics Department of the Ethical Culture Schools, has written this simple and lucid book to help young  ...

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

Lewis Gordon's Fear of Black Consciousness is a resolute response to the ongoing pessimism present in contemporary culture and academia regarding Black life. As a towering figure in Black existential philosophy, Gordon seamlessly weaves together discussions of contemporary and historical Western philosophers such as Gabriel Marcel and Friedrich Nietzsche with his analyses of film, music, culture, and more. Across the text's twelve chapters, Gordon reveals the pervasiveness of anti-black ideologies while challenging his readers to (...) affirm various forms of resistance to violence, invisibility, and erasure. The book is written for an audience beyond academia, and is invested in telling a practical philosophical story about generating an empowering sense of Black consciousness. Sprinkled with personal stories, witty anecdotes, and powerful arguments, the book encourages readers to rethink historical descriptions of anti-black violence as well as the vocabulary used to talk about race and racism today. An example of this is Gordon's discussion of various slave trades across the planet. He writes, ‘Only the Arab designation is correct, since it refers to Arabs trading in the enslavement of peoples. The others should properly be called the European slave trade and the East Indian slave trade or Asian slave trade. Oceans do not trade people’ (pp. 52). Another insightful aspect of the text is the author's study of films like Jordan Peele's Get Out, Boots Riley's Sorry to Bother You, and Ryan Coogler's Black Panther. Through these films, he provides a detailed look at how cinematic representation engages complex dialogues of anti-Blackness and Black power, as well as anti-capitalism. Overall, Gordon's book is a wonderful resource for anyone curious about cultivating a resistant and critical lens on contemporary culture. The aim of this review is to highlight a few of the book's major contributions for academics, casual readers, and those interested in ongoing discussions within Africana philosophy. (shrink)

Exploring online criticisms of the ‘take the knee’ protest during ‘Euro 2020’, this article examines how alt- and far-right conspiracies were both constructed and communicated via the social media platform, Twitter. By providing a novel exploration of alt-right conspiracies during an international football tournament, a qualitative thematic analysis of 1,388 original tweets relating to Euro 2020 was undertaken. The findings reveal how, in criticisms levelled at both ‘wokeism’ and the Black Lives Matter movement, antiwhite criticisms of the ‘take the (...) knee’ protest were embroiled in alt-right conspiracies that exposed an assumed Cultural Marxist, ‘woke agenda’ in the tournament’s organization and mainstream media coverage. In conclusion, it is argued that conspiratorial discourses, associated with the alt-right, provided a framework through which the protest could be understood. This emphasises how the significance of conspiracy functions to promote the wider dissemination of alt-right ideology across popular cultural contexts, such as sport. (shrink)

Through examining the BBC television series, Black and British: A Forgotten History, written and presented by the historian David Olusoga, and in extending Paul Gilroy’s assertion that the everyday banality of living with difference is now an ordinary part of British life, this article considers how Olusoga’s historicization of the Black British experience reflects a convivial rendering of UK multiculture. In particular, when used alongside Žižek’s notion of parallax, it is argued that understandings of convivial culture can (...) be supported by a historical importance that deliberately ‘shocks’, and subsequently dislodges, popular interpretations of the UK’s ‘white past’. Notably, it is parallax which puts antagonism, strangeness and ambivalence at the heart of contemporary depictions of convivial Britain, with the UK’s cultural differences located in the ‘gaps’ and tensions which characterize both its past and present. These differences should not be feared but, as a characteristic part of our convivial culture, should be supplemented with historical analyses that highlight but, also, undermine, the significance of cultural differences in the present. Consequently, it is suggested that if the spontaneity of conviviality is to encourage openness, then understandings of multiculturalism need to go beyond reification in order to challenge our understandings of the past. Here, examples of ‘alterity’ are neither ‘new’ nor ‘contemporary’, but instead, constitute a fundamental part of the nation’s history: of the ‘gap’ made visible in transiting past and present. (shrink)

Alongside the increasing popularity of digital, ‘social’ media platforms, has been the emergence of self-styled digital life-coaches, many of whom seek to propagate their knowledge of and interests in a variety of topics through online social networks (such as, Facebook, Youtube, Instagram, etc.). With many of these ‘social influencers’ garnering a large online following, their popularity, social significance and cultural impact offers important insights into the place and purpose of the subject in our digital media environment. Accordingly, this chapter will (...) examine the proliferation of digital media technologies, which, on the one hand, propose the dissolution of the subject (wearable technology, technological singularity, etc.), while on the other, provide new opportunities for discovering, ‘sharing’ and/or improving one’s ‘inner-Self’ (digital media gurus, online health and fitness regimes, etc.). It is in considering how the effects of this ‘digital subject’ redefines traditional (Cartesian) conceptions, that the relative significance of ‘Digital Guru Media’ (DGM) can be drawn. In particular, explicit attention is given to examining how our engagements with social media can be considered in relation to Lacan’s (2002) notion of the big Other and its relevance in introducing, examining and, possibly, subverting, the digital media guru. (shrink)

The goal of our work is to explore and highlight factors that contribute to positive experiences of Black employees. To accomplish this, we integrate behavioral ethics research into the Black scholarship literature. Specifically, we focus on the role of ethical leadership. We leverage signaling theory to explain the Black cultural implications associated with ethical leadership and how ethical leaders create racially just workplaces. Across three studies (i.e., one cross-sectional field study and two experimental vignettes), we demonstrate that (...) ethical leadership operates as a welcoming signal for Black employees, which positively impacts Black employees’ evaluations of psychological diversity climate. By cultivating Black employees’ evaluations of psychological diversity climate, Black employees are more likely to be engaged and are less likely to be ostracized in the workplace, which are key indicators of a racially just workplace. Theoretical and practical implications are discussed. We conclude with limitations and future research ideas. (shrink)

A complete history of Islamic political thought from early Islam to the present Now in its 2nd edition, this textbook describes and interprets all schools of Islamic political thought, their origins, inter-connections and meaning. It examines the Qur'an, the early Caliphate, classical Islamic philosophy and the political culture of the Ottoman and other empires. It covers major thinkers such as Averroes and Ibn Taymiyya as well as a number of lesser authors, and Ibn Khaldun is presented as one of (...) the most original political theorists ever. It draws on a wide range of sources including writings on religion, law, philosophy and statecraft expressed in treatises, handbooks and political rhetoric. The new edition analyses the connections between religion and politics, covering the most recent developments in Islamic political thought and the most recent historical scholarship. It ends with a critical survey of reformism and Islamism from the late-19th century up to the present day. (shrink)

'The problem of the twentieth-century is the problem of the color-line.' Originally published in 1903, The Souls of Black Folk is a classic study of race, culture, and education at the turn of the twentieth century. With its singular combination of essays, memoir, and fiction, this book vaulted W. E. B. Du Bois to the forefront of American political commentary and civil rights activism. The Souls of Black Folk is an impassioned, at times searing account of the (...) situation of African Americans in the United States. Du Bois makes a forceful case for the access of African Americans to higher education, memorably extols the achievements of black culture (above all the spirituals or 'sorrow songs'), and advances the provocative and influential argument that due to the inequalities and pressures of the 'race problem', African American identity is characterized by 'double consciousness'. This edition includes a valuable appendix of other writing by Du Bois, which sheds light on his attitudes and intentions. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

2) Philosophy in an important sense has no special subject-matter which stands to it as other subject-matters stand to other special disciplines…. What is characteristic of philosophy is not a special subject-matter, but the aim of knowing one’s way around with respect to the subject-matters of all the special disciplines. [370] [BB: It is not clear how this sits with the distinction between being a researcher (in a special discipline) and being an intellectual (caring about how it all fits together). (...) For, surely, not all intellectuals are philosophers, nor vice versa. One possibility is that he thinks that our research specialty is being intellectuals. But this is not plausible: sociologists, historians, journalist-pundits, culture critics, and so on have an equal claim to that distinction. WS might be thinking of philosophers as exclusively concerned with the cognitive enterprise, allowing intellectuals more generally to worry about, e.g., politics. But this is a pre- Hegelian way of thinking about things that is very implausible. I have my own take on this (cf. “Reason, Expression, and the Philosophic Enterprise”, Ch. 4 of RiP).]. (shrink)

The Psychosis of Race offers a unique and detailed account of the psychoanalytic significance of race, and the ongoing impact of racism in contemporary society. Moving beyond the well-trodden assertion that race is a social construction, and working against demands that simply call for more representational equality, The Psychosis of Race explores how the delusions, anxieties, and paranoia that frame our race relations can afford new insights into how we see, think, and understand race's pervasive appeal. With examples drawn from (...) politics and popular culture--such as Candyman, Get Out, and the music of Kendrick Lamar--critical attention is given to introducing as well as explicating on several key concepts from Lacanian psychoanalysis and the study of psychosis, including foreclosure, phallus, the Name-of-the-Father, sinthome, and the objet petit a. By elaborating a cultural mode to psychosis and its understanding, an original and critical exposition of the effects of racialization, as well as our ability to discern the very limits of our capacity to think through, or even beyond, the idea of race, is provided. The Psychosis of Race speaks to an emerging area in the study of psychoanalysis and race, and will appeal to scholars and academics across the fields of psychology, sociology, cultural studies, media studies, and the arts and humanities. (shrink)

The recent publication of the translation of Jacques Derrida’s Athens, Still Remains, a small volume of photographs and commentary, affords an opportunity to probe Derrida’s reflections on death and therefore on life as well. Looking at photographs and objects of everyday life, Derrida emphasizes the deferred yet certain nature of death and the way in which this deferral opens the opportunity to devote ourselves to life. His grounding of his philosophical and deconstructionist argument in contemplation of material fragments (the photographs (...) of ruins and scenes from the recent past of Athens) invites a comparison with the writing of sociologist Georg Simmel on ruins, time and death. Both writers attempt to discover practices of survival, the techne of affirming life in the face of death. For both of them these practices are sociological as well as philosophical, individual as well as collective, and aesthetic as well as intellectual. While their reflections thematically converge, their strategies for the affirmation of life are not identical, and we contrast Derrida’s approach, rooted in a concept of being in the world and a connection to others, to Simmel’s analysis which is focused on the role of culture and the force of the human spirit. Reconstructing a conversation between Derrida and Simmel and examining their intellectual rapprochement deepen our thinking about temporality and death as we confront the question ‘How are we to live?’. (shrink)

Providing an accessible examination of ethics, Doing Ethics in Media, introduces students to ethical theory and provides a grounded discussion of ethics in the context of today's media outlets. Emphasizing the understanding of ethics, the text will help readers 'do ethics' expeditiously, honestly, and efficiently when they enter the workplace and need to make critical ethical decisions on deadline. The text is organized around six decision-making questions, and cases demonstrate the application of these questions to real-world scenarios. Each chapter focuses (...) on a specific ethical theory or issue, with a thorough discussion of the key points accompanied by practical applications, demonstrated through references to classic and contemporary issues in media. Student voices are heard throughout the book, illustrating how they have grappled with and applied the concepts in their own worlds and in the media. Distinctive features include: a new approach to ethical decision making through the "5W's and H" questions that serve as the book's framework; discussions and case studies aimed at five media disciplines: journalism, new media, advertising, public relations, and entertainment. Cases engage students at early stages of their careers, and consider that most students will change careers several times comprehensive materials on classic moral theory and current issues such as truth telling and deception, values, persuasion and propaganda, privacy, diversity, loyalty, moral development, and codes of ethics user-friendly approach throughout the book challenges students to think for themselves rather than imposing answers on them connects the model or theory to every decision-making challenge (44 cases and dozens of practical applications) a Companion Website with ancillary materials for students and for instructors (including a test bank and instructor's manual). This text has been written for undergraduates and graduate students studying media ethics in mass media, journalism, and media studies. It also will serve students in rhetoric, popular culture, communication studies, and interdisciplinary social sciences"--Provided by publisher. (shrink)

Imaginative resistance refers to a perceived inability or unwillingness to enter into fictional worlds that portray deviant moralities (Gendler, 2000): we can all easily imagine that dragons exist, but many people feel incapable of imagining fictional worlds in which morality works differently. Although this phenomenon has received much attention from philosophers, no one has attempted to operationalize the construct in a self-report scale. In Study 1, we developed the Imaginative Resistance Scale (IRS), investigated its relationship to theoretically related constructs, and (...) confirmed its structure and reliability (rα = 0.92) in a large sample. In Study 2, we asked participants to rate scenarios expected to provoke imaginative resistance and predicted these ratings from the IRS and its validity measures. IRS scores accounted for variability in ease of imagining these scenarios over and above gender, political orientation, and three related measures. The results are discussed in terms of theories of imaginative resistance and directions for future research. (shrink)

An ancient and enduring cross-cultural mythology explores what the texts generally perceive as a paradox: the birth of white offspring to black parents, or black offspring to white parents. This mythology in the Hebrew Bible is limited to animal husbandry, but in Indian literature from the third century B.C.E. and Greek and Hebrew literature from the third or fourth century C.E. it was transferred to stories about human beings. These stories originally express a fascination with the dark skin (...) of “Ethiopians” , and a fantasy of white children born to them. But when ideas about human race arise in Europe after the sixteenth century, the stories reverse their color schemes and shift their emphasis to investigations of the paradox of black children born to white parents. In our day, racism is clearly a strong factor in the media fascination with court cases about in vitro fertilization in which black children are born to white parents. This development suggests that the symbolism of black and white was not originally, nor need be now, racist, but that, once racism is current, it is hard to reclaim the nonjudgmental innocence of the earlier texts. Many of these texts explained the paradox of children who differ from their parents in color by invoking the concept of parental impression , which argues that whatever a woman thinks of or sees at the moment of conception influences the physical form of the child. This doctrine, which was known in ancient Israel, in Greece, in ancient India, and in Europe well into the twentieth century, primarily addresses an entirely different obsession—the problem of paternal insecurity—and generally draws heavily on sexist and misogynist attitudes toward women. Yet, when it was appropriated into the narratives of off-color offspring, it offered, in place of the more obvious explanation , an alternative fantasy that softened the culpability of women. So, too, when applied to stories of color-contrasting offspring in European narratives, even after the sixteenth century,the idea of parental impression functioned as a force against racism ; the Lamarckian or Lysenkan idea of the inheritance of acquired characteristics—the privileging of nurture over nature—argues against the belief that one’s racial stock determines who one is. Thus this doctrine, farfetched as it seems to us , dulled the edge of ancient antagonism toward women and modern European antagonism toward the descendants of the “Ethiopians.” A study of the variations of this myth across cultures has much to tell us about the ways in which myths about women and myths about people of dark skin color are transformed under the pressure of later tropes of sexism and racism. (shrink)

Everyone's favorite houseguest who never left, Leon Black (played by award-winning comedian JB Smoove on HBO's Curb Your Enthusiasm) drops his wisdom and good-bad advice for the masses. Learn the secrets Larry David has gleaned from the Falstaff of television."--Amazon.

Early communities and states -- Egypt -- Mesoptamia, Assyria, Babylon -- Iran -- Israel -- India -- China -- The Greeks -- Rome -- Graeco-Roman humanism -- The Kingdom of Heaven and the Church of Christ -- Themes : similarities and differences between cultures -- General conclusion.

The aim of this study is to determine the use of the blackboard by teachers of Islamic Culture and Ethics. For this purpose, the views and practices of the teachers regarding the use of the blackboard were examined. The study is important as it was conducted through a combination of interviews and observations and contributes to the literature on the subject. A case study design, which is one of the qualitative methods, was used in the study. The study was (...) conducted with nine Islamic Culture and Ethics teachers selected through purposive sampling method in the center of Bitlis province and in six middle schools. A semi-structured interview form and an observation form developed by the researcher were used as data collection tools in the study. The data obtained from the interviews and observations were analyzed for content and presented in table format and interpreted. The study findings reached themes related to blackboard usage education, usage purpose, usage principles, usage self-efficacy, usage frequency, and usage problems. As a result, the teachers considered themselves sufficient in terms of blackboard usage and had not participated in any training related to blackboard usage. Teachers used the blackboard mainly to add visuality to the lesson, attract attention, provide instant additional and summary information, ensure permanence of knowledge, and activate teachers and students. Teachers frequently used the blackboard in their lessons. However, since teachers used the blackboard without paying attention to usage principles and in an unplanned manner, they encountered various problems related to classroom management such as noise, disinterest, and time loss, and could not benefit from the blackboard at a sufficient level. Nevertheless, it was observed that teachers' use of the blackboard in class added visuality and liveliness to the lesson, attracted the attention and interest of the students, supported teacher explanations, facilitated lesson follow-up, provided a common working area for teachers and students, and supported other educational tools used in the lesson. It is recommended that in-service trainings based on effective use of the blackboard be provided to teachers by experts in the field. (shrink)

Through research that was conducted with mountain bike trail builders, this article explores the processes by which socio-natures or ‘emergent ecologies’ are formed through the assemblage of trail building, mountain bike riding and matter. In moving conversations about ‘Nature’ beyond essentialist readings and dualistic thinking, we consider how ecological sensibilities are reflected in the complex, lived realities of the trail building community. Specifically, we draw on Morton’s (2017) notion of the ‘symbiotic real’ to examine how participants connect with a range (...) of objects and non-humans, revealing a ‘spectral’ existence in which they take pleasure in building material features that are only partially of their creation. Such ‘tuning’ to the symbiotic real was manifest in the ongoing battle that the trail builders maintained with water. This battle not only emphasized the fragility of their trail construction but also the temporal significance of the environments that these creations were rendered in/with. In conclusion, we argue that these findings present an ecological awareness that views nature as neither static, inert or fixed, but instead, as a temporal ‘nowness’, formed from the ambiguity of being in and with nature. Ecologically, this provides a unique form of orientation that re-establishes the ambiguity between humans and nature, without privileging the former. It is set against this ecological (un)awareness that we believe a re-orientation can be made to our understandings of leisure, the Anthropocene and the nature-culture dyad. (shrink)