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1.
This essay offers a critical rhetorical analysis of social media discourse of white mothers protesting the acquittal of Trayvon Martin’s killer. I argue that through affectively charged performative disidentifications, white mothers contributing to the We are not Trayvon Martin blog worked within and against norms of ideal motherhood to challenge dominant formations of whiteness in ways that exposed the privileged status of U.S. American white motherhood and reconceptualized motherhood as an affective orientation toward antiracism. Unpacking affectively charged performative disidentifications with privileged racial identities is important for enhancing understandings of white antiracist rhetoric and fostering formations of white antiracist consciousness.  相似文献   

2.
Abstract

This essay considers Levinas' face-to-face ethical relation together with Gilles Deleuze and Felix Guattari's concept of ‘becoming animal’ as a response to the radical dehumanisation involved in biopolitics. Framing his analysis in terms of an archaic law banning wrongdoers as wolves, Giorgio Agamben shows that biopolitics strips humans of subjectivity and exposes them to political power. Levinas' answer to radical dehumanisation is an ethical humanism of the other, but his ethical program is barred from politics. Moreover, he writes that in his own experience of dehumanisation, the only ethical being he encountered was Bobby, the camp dog. It seems biopolitics calls for an ethical politics that we might possess as bare life, outside of the autonomous, individualising conditions of the humanist subject. To this aim, I apply Deleuze and Guattari's concept of becoming animal as a devise to transport Levinas' ethics of alterity to the political realm.  相似文献   

3.
We conducted a discourse analysis of Australians' conversations about race, exploring communication that (re)produces and decenters whiteness. We identified 23 communication practices, organized into four orientations (unity, separation, monologue, and dialogue), describing how those with power talk about those without power and (fail to) balance tensions between similarity and difference. Orientations of unity, monologue, and separation serve antidialogic functions by obstructing transformative thinking, de-legitimizing Aboriginal experiences, and reifying whiteness. Findings suggest it is possible, but rare, for individuals to engage in intercultural dialogue about race. Understanding communication orientations of privilege is a step towards facilitating talk that disrupts whiteness.  相似文献   

4.
ABSTRACT

This study examines the representation of African women in an era of globalization. Using Dyer’s concept of whiteness and a visual content analysis approach, this study focuses on how four influential African magazines portrayed African women from 2010 to 2015. Findings suggest that African magazines’ portrayal of beauty is not representative of diverse body sizes, skin tones, and hair types common among African women. Rather, magazines represent an image of beauty rooted in white/western/Eurocentric beauty standards.  相似文献   

5.
Abstract

In Latin America, collective remembering is shaped by stories of colonizers whose voracious ambitions left an indelible mark on the landscape and its people. This essay examines a set of narratives about a legendary colonizer, Lope de Aguirre, that continue to be invoked in the collective imagination on the island of Margarita, in Venezuela. Drawing on Bormann's Symbolic Convergence Theory and Bakhtin's work on cultural discourse, this analysis shows that on the one hand, the narratives converge to support official records of Aguirre as an archetype of colonial brutality. Yet on the other, alternate versions of the stories reveal a more discordant picture, one that complicates Aguirre's character and reevaluates his influence on the island and in the wider context of Latin America.  相似文献   

6.
Abstract

This essay reads two differing conceptions of subjectivity in Frantz Fanon's work as corresponding to a shift in subjective orientation in certain moments of crisis, from what I term a unified individual – the subject of psychoanalysis – to a dispersed subject, the frenzied participant in collective activity. I believe that such a potential duality within the subject is best adopted when analysing Fanon's oeuvre, as well as when examining a subject's behaviour as participant in forms of unstructured collective protest such as rioting. Whereas the unified subject of psychoanalysis best expresses the consciously self-reflective individual in society, the dispersed subject expresses a subjectivity operating in excess of individualism. This dispersed subject acts collectively, as an object moving in tandem with other objects, without individual reflection. I argue that this shift comprises the initial spark of insurrection suggested in Fanon's work, the moment in which he sees the people pitched ‘in a single direction, from which there is no turning back’; and what Jean-Paul Sartre calls the explosive moment of ‘conflagration’. The two subject positions between which the subject shifts exist as two potential sides of every subject and comprise the ‘Manichean’ world in which Fanon's subject is entrenched.  相似文献   

7.
Abstract

Both fans and critics of Lars von Trier's work would likely agree with his capacity to make his audience suffer. This essay canvasses the devices through which the suffering of women in von Trier's melodramas is rendered excruciating to watch. Drawing on Deleuze's influential account of masochism, the first part of the essay discusses how von Trier's film Dogville foregrounds the complicated relationship that suffering has with pleasure and power. The second part of the essay focuses on the temporal dynamics of melodrama and the creative ways in which Lars von Trier disturbs the rhythms of suffering on screen. In particular I argue that von Trier introduces intervals of ‘dead time’ that make the passage of time itself painful to the audience and that open up a larger cultural history of temporal disorder. This part of the essay looks back to von Trier's early experiments with time in Psychomobile 1: The World Clock (2000) and forward to more recent innovative play with time and movement in Melancholia (2011) to make the case for rethinking the temporal dimensions of mediated suffering and the significance of time in the work of Lars von Trier.  相似文献   

8.
Abstract

Cultural intelligence (CQ) has emerged as a popular construct for understanding and dealing with the problems of cross-cultural adjustment and cross-cultural communication that transnational corporations face. In this article, we critique the discursive moves through which CQ is presented as a competitively advantageous tool for global organizations, deconstruct its theorization and measurement, and discuss its role in perpetuating transnational hegemony. This article thus exposes the implicit relationship between academic knowledge production and transnational organizational practice that maximizes profits while simultaneously downplaying transnational globalization's oppressive consequences such as job vulnerability, unemployment, and exploitation.  相似文献   

9.
Abstract

Though it is generally acknowledged that there is a relationship between racist discourse and the figure of the non-human animal, this relationship is almost always assumed to be analogical: oppressed groups are compared with or treated as non-human animals. But the recent dogfighting case against NFL Quarterback Michael Vick and the attendant suspicion of ‘pit bulls’ suggests that racism today has a more complex relationship with (certain types of) animals than the analogy would capture. An analysis of this discourse both calls for and revises Foucault's notion of ‘the dangerous individual’ as an explanatory concept for contemporary racism. The concomitant revulsion toward both dogfighting and ‘pit bulls’ suggests an expression of fear of a perceived threat to normative whiteness, insofar as these ‘dangerous’ dogs are figured as carriers of the contagion of racial abnormality.  相似文献   

10.
The film Black Swan, directed by Darren Aronofsky, provides a fruitful context for thinking about Deleuze's conceptualisation of structural transformation as a ‘presubjective’ process involving a critical and creative politics of engagement. Nina is a young dancer who has just secured the lead role in the New York Ballet's new production of Swan Lake. This role not only requires her to dance the pure and innocent character of the White Swan – a role that mirrors Nina's character in real life, and for which she is well suited – but also as the seductive and darkly erotic character of the Black Swan, a role quite alien to Nina. The film traces Nina's desperate efforts to meet the demands of this doubled characterisation. Through new forms of engagement with her peers, she enters into a ‘becoming-swan’ that frees her from the restraints and constraints imposed by her existing self. While this transformative process enables her to realise aesthetic perfection in her art, this comes at a heavy price: Nina not only is creatively destabilised, but ultimately is destroyed by the transformation she endures. By considering this work of cinema in light of Deleuze's writings on cinema, on ‘becoming-animal’, and on ‘Porcelain and Volcano’, this essay reflects upon a crucial question underlying much of Deleuze's political thought: how is it possible to privilege radical subjective and social transformation, without these structures of necessary coherence also ‘cracking up’ and being destroyed in the process?  相似文献   

11.
Abstract

For the First International Conference on the Reconstruction of Afghanistan in Tokyo January 21–22, 2002, Japan made all efforts to help multilateral institutions reengage with each other. Prior to the conference, Japanese Prime Minister Koizumi Junichiro presented Japan's experience and expertise in rebuilding a once war-torn nation in an English article and its Japanese translation. In this study, I focus on the article “Starting from Scratch … Again” and elucidate his less publicized agenda to broaden Japan's Self Defense Force and to amend its pacifist Constitution in the post-September 11 world.  相似文献   

12.
Abstract

This essay discusses Nietzsche's tragic moral psychology and its significance for liberal political philosophy. In the essay, I sketch out what I view to be the basic features of Nietzsche's tragic psychology, which is strongly opposed to the Socratic and Stoic traditions, and I show how this perspective can be distinguished from the moral psychology that informs liberalism's position on issues such as personhood and political history. I conclude with a few suggestions for viewing Nietzsche's thought as a necessary corrective to a certain dogmatism that still inhabits liberal theory, in this way enabling liberal thought to conceptualise human nature and the human good in more creative and complex ways.  相似文献   

13.
Abstract

‘Islands of Detroit’ explores the possibilities for an ‘everyday, oppositional whiteness’, a thoughtful randomness, as a corrective to ‘reactionary’ and ‘evasive’ forms of whiteness which often embed themselves in populist media sites for nostalgia. Drawing on the theoretical work of Svetlana Boym, Uday Singh Mehta and Roland Barthes, this essay looks in particular at a coffee table book, The Way it Was (2004 Bulanda, G., ed. 2004. The Way It Was: Glimpses of Detroit’s History from the Pages of Hour Detroit Magazine, Royal Oak, MI: Momentum.  [Google Scholar]), and its generic sentimentalism, to understand how certain white visual representations of Detroit affectively generate nostalgia, which can in turn conceal pasts and racial tensions. Looking at the history of Detroit (with particular attention on how the two infamous race riots are and are not negotiated), Islands examines visual images of the city – as opposed to the city itself – through the discursive lenses of nostalgia, modernity and affect, while positing that the histories and identities of Detroit remain irreducible to the images which attempt to capture them.  相似文献   

14.
Telemaco Signorini (Florence 1835-1901), one of the most important Italian painters of the 19th century, was particularly famous among his colleagues for his way of depicting dark details and shadows by using primarily blue colors. The restoration of his painting Pascolo a Pietramala (c. 1889, Galleria di arte moderna, Palazzo Pitti, Florence) gave the authors the opportunity to study Signorini's blue palette using non-invasive fiber optics reflectance spectroscopy (FORS) in the ultraviolet (UV), visible (vis), and near infrared (NIR) regions (350-1700 nm). Furthermore, to help in the identification of the pigments used, a suitable spectroscopic database was created for Prussian blue, artificial ultramarine blue, Thénard blue (or cobalt blue), and cerulean blue modern blue pigments, in masstone and in mixtures with lead white as well as zinc white. The main pigments used by the artist in the aforesaid painting were found to be Prussian blue, artificial ultramarine blue, Thénard blue (or cobalt blue).  相似文献   

15.
This study examines alignment with whiteness as a form of racial incorporation among Asian Indian immigrants. Alignment—lining up—explains the process of racial incorporation as a creative construction of similarities in social position, values, interests, and culture. Thirty Asian Indian immigrants were interviewed. We found that they were positioned to interact with white Americans by their material resources, terms of immigration, and prearrival imagination of the U.S. as white. They incorporated themselves by constructing terms of equivalence with whiteness and adopting the discourse of racelessness. We demonstrate how identity capital and affect enable and secure racial alignment.  相似文献   

16.
Karmen Gei (2001) by Senegalese filmmaker Joseph Gai Ramaka is the first African adaptation of Carmen. The film garnered attention for its indulgent sexuo-erotic rhetoric and its reinvention of Carmen as a bisexual libertine. Most critical assessments of Karmen Gei have accordingly applauded Joseph Gai Ramaka's ‘daring’ and ‘innovative’ intervention into the political and heteropatriarchal landscape of postcolonial Senegal, a country with a strong, increasingly radicalised, Moslem majority and a nascent yet burgeoning homophobia. Yet the peculiar trajectory outlined in the title of my essay, whereby Bizet's Carmen travels to the African postcolony and gets queered by/in the postcolonial moment, grounds the queer in the postcolonial and asserts that the queer is organic to the postcolonial. More precisely, the postcolonial adaptation of Bizet's Carmen offers a theoretical template for rethinking the interface between the postcolonial and the queer by showing how Carmen goes effortlessly if not inevitably queer in the postcolony as a result of intrinsic postcolonial modalities of power, resistance and subjectivity.  相似文献   

17.
In late 2012, Santino J. Rivera published a collection of Chicana/o literature as a cultural and political response to the closure of Mexican American Studies in the Tucson Unified School District. This essay argues that Rivera's text invites critical interrogation of the whiteness ideologies underlying critiques of MAS in an attempt to make spaces for Chicana/o sensibilities. Such sensibilities, this essay argues, include In Lak'ech and mestiza rhetorics, which emphasize cultural empowerment, identification, spiritual love, and humanization.  相似文献   

18.
While originally Lacan seconds Heidegger's contention that ‘anxiety has no object’, in the early 1960s, he dismisses his own earlier position as a childish reassurance and argues, to the contrary, that ‘anxiety is not without an object’. With particular attention to his use of the double negative, ‘not without’, this essay examines this turning point in Lacan's thinking in order to explain the opposition between his psychoanalytic critical theory and Derrida's deconstruction. The arguments that Lacan brings to bear on his work of the 1950s closely approximate those that Derrida levels against Heidegger in the formulation of his own concept of ‘the aporia of the impossible’. Indeed, as commentators often emphasise, the formal logic of Lacan's later thinking is strictly isomorphic with Derrida's philosophy; and their respective concepts of anxiety and aporia are frequently misconstrued, accordingly, as simply identical. However, insofar as Lacan discerns a content in this formal negativity, contesting the idealism of his earlier theory and reasserting the materialist objectivity of the Freudian ‘lost object,’ as intractably Real, the two do not coincide. On the contrary, Lacan's repudiation of Heidegger's concept of anxiety extends equally to Derrida's aporia, as if, for Derrida, Heidegger's existential phenomenology were not reassuring enough.  相似文献   

19.
Abstract

This essay reads Rosi Braidotti's philosophical nomadism from a decolonial perspective with the goal of uncovering the irreducible colonial difference which underlies the Eurocentric ontological vision embedded in Braidotti's reading of Gilles Deleuze. In particular, I read Edouard Glissant in tandem with Deleuze through the notion of the ‘middle’, a key concept which grounds the three thinkers' ontology of multiplicity. To this end, I borrow Nelson Maldonado-Torres' Fanonian critique of Eurocentric ontology and show how Braidotti fails to escape from the trap of Eurocentrism due to her inability to capture the abyssal and totalitarian character of coloniality imprinted in the cry of the damné. Against Braidotti's simplistic misreading of Glissant as a future-oriented constructivist, I argue that the enigmatic trope of Relation in Glissant opens up at the middle space of groundlessness constituting the ontological edifice of the colonial subject: revealing the abyssal middle in which the ineffable experience of shared suffering never stops haunting the freeing knowledge of relation.  相似文献   

20.
This collaborative essay seeks to chart new methodological pathways for intercultural scholars with a specific focus on Critical Race Theory and Decolonizing and Indigenous Research Methodologies; Activist/Engaged Methodologies; and Performative Methodologies. Each section begins from our own researcher subjectivity, then outlines the constellation within the development of Critical Intercultural Communication (CIC); identifies the constellation's methodological commitments, thematics, and concerns; highlights key exemplars; and raises key questions. At the end of the essay, we explore through a dialogic performance the larger implications that these methodological constellations hold for CIC as a field.  相似文献   

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