Suchergebnisse

Introduction: "Theoretical Futures": The Creation of a Concept / Grant Farred -- 1. On the Fecundity of Small Places / John E. Drabinski -- 2. Paulin J. Hountondji on Philosophy, Science, and Technology: From Husserl and Althusser to a Synthesis of the Hessen-Grossman Thesis and Dependency Theory / Zeyad el Nabolsy -- 3. The State of Crisis and the Crisis of the State in the 21st Century / Radwa Saad -- 4. Insurgent Practices in Contemporary Francophone Africa: Emerging Critical Challenges / Kasareka Kavwahirehi -- 5. Tampered Witnessing: Visual Agency and the African American Poet / Gregory Pardlo -- 6. Colonial Aesthetics and Decolonial Disruptions: From the Sorrow Songs to Janelle Monáe and Back Again / Sarah Then Bergh -- 7. Seductive Solidarity: Comrade Lover and Other Demons / Akin Adeṣọkan -- Seeing, Hearing, Breathing and Witnessing from the Africana Center at Cornell: An Afterword / Pierre-Philippe Fraiture.

Intro -- _GoBack -- Cover Page -- Series Page -- Title Page -- Copyright Page -- Contents -- 1. November 2016 -- 2. Martin Luther King and White People -- 3. The Farceur -- 4. Deracializing MLK -- 5. It Takes You Where You Don't Want to Go -- 6. And So I Turn to James Baldwin -- 7. A Nietzschean Interlude -- 8. "Bagger Vance" -- November 7, 2020 -- Acknowledgments -- Index.

"An intensely personal, and philosophical, account of why white America's racial unconscious is not so unconscious"--

"This book probes the cultural forces and legacies at play in three events in sports history, exploring how racial, national, sporting, and personal identities overlap and conflict. The author taps into a deep well of Western philosophy and literature to read the resonances in these three moments"--

Introduction : thinking in the vernacular -- Muhammad Ali, third-world contender -- C.L.R. James, marginal intellectual -- Stuart Hall, the scholarship boy -- Bob Marley, postcolonial sufferer

Abstract
Beginning with the premise that "liquidity" is an abstraction, this essay takes up liquidity as the condition for thinking capital, race, and racism, the ways in which capital shapes the possibilities of being—black—in the world. Using a range of theorists, from Karl Marx to Carl Schmitt to Martin Luther King Jr., and a host of cultural figures, most prominently Colin Kaepernick, the author explores how the black body, in its stillness and in its movement, provides us with a singular opportunity for thinking the "abstraction of liquidity" across (and within) a range of registers: some that reinforce one another, others that throw each into sharp relief, and still others that, surprisingly, confound expectations. Liquidity, then, as that vehicle which evinces the capacity to give new form(s) to thinking some of the critical difficulties of our moment.

"When I was nineteen, Miles Davis put his finger on my soul, and it never went away," Stuart Hall reflects in John Akomfrah's documentary, The Stuart Hall Project. Miles Davis not only "touched" Hall's soul, but the music and its many moods, its vagaries, its experimentations provided a lodestar, a touchstone, and a balm for that self-same Jamaican soul. Miles Davis provided, at the very least, jazz as a musical genre, as a mode of being deeply inflected by race, as a means of delivering solace, succor, and sustenance for two black souls. While there is no symmetry, perfect or imperfect, between Miles Davis's music and Stuart Hall's work, what does emerge through The Stuart Hall Project is a glimpse into the soulfulness of Stuart Hall's thinking. Stuart Hall's work has shown itself to be ceaselessly inventive, always in search of the conceptual answers to the political demands of the day, deft and subtle in its ability to address the difficulties of dislocation, deracination, and out-of-placeness that is the everyday lived reality of the diaspora. Akomfrah draws us into Hall's life through Davis's discography. We are invited to access Hall, not only through his work, his writings, public appearances, and colleagues and comrades, which sometimes are indistinguishable from the other, but through the portal of a radical jazz figure. As such, Stuart Hall makes himself unfamiliar, if only for the shortest moment, and in so doing he compels us to think of him on other terms, on deeply intimate, heartfelt, soulful terms—propensities that are so clearly etched in Miles Davis's music. In this way, it is possible to say that the Hall oeuvre is a felicitous testament to the challenges presented by Miles Davis's discography, one that allows us to glimpse a heretofore unseen creative intimacy between two of the most gifted and soulful thinkers of the black condition.

This essay on cultural studies and the African Diaspora argues for a rethinking of cultural studies in two critical ways: firstly, that cultural studies, from its founding institutional and conceptual moment, cannot but be thought diasporically; and, secondly, that cultural studies be thought 'out of', or, against, context—that is, cultural studies is most revealing in its political and literary articulation when it is not read, as many of its advocates claim, contextually. This essay offers a broad critique of cultural studies and the (African) diaspora but derives its most cogent and creative argument from its ability to read together the work of two diasporic authors, deracinated South African and Australian writers, J. M. Coetzee and David Malouf.

This essay explores the "national" division of Spain, and Spanish football in particular, from the perspective of a long-distance Liverpool Football Club fan. The route to and through Spain, through its turbulent and bloody political history, is mediated by the persona of the Basque midfield maestro, Xabi Alonso. Marveling at Alonso's sublime skills, "Careless Whispers" reflects on the complicated and multiply divided nature of (international) football fandom. The path from Liverpool, England, to San Sebastian, Bizkaia, is riddled with many histories, but it is precisely because of the "diversions" and contradictions that map this journey that Xabi Alonso is able to stand as the figure of footballing explication.