Quare Times: An Introduction to a Queer Perspective on Afrofuturism and a Reading of Sun Ra’s Space Is the Place

2021 ◽  
Author(s):  
Tim Stüttgen
Keyword(s):  
African American ◽  
Gilles Deleuze ◽  
Felix Guattari ◽  
Middle Passage ◽  
Sun Ra ◽  
Oriented Response ◽  
Slave Ship ◽  
American Vernacular ◽  
Paul Gilroy

The film Space Is the Place (1974), directed by John Coney, stars Sun Ra who was also co-author of the script. This chapter explores Sun Ra’s Afrofuturism as shown in the film, bringing it into relation with José Muñoz’s notion of a queer future. Rather than focusing on Sun Ra’s sexuality, this chapter argues that his quareness (E. Patrick Johnson’s useful term drawn from African American vernacular) emerges in the sonic and performative aspects of his work. Sun Ra’s spaceship offers a future-oriented response to the slave ship and Middle Passage (as described by Paul Gilroy) and to the limitations of the here and now. The notion of assemblage (Gilles Deleuze and Felix Guattari) articulates the quareness of Sun Ra’s collective improvisational practices.

A literatura afro-americana sob a ótica da tradução

1989 ◽  
Vol 10 (1) ◽  
pp. 36
Author(s):  
Idelber Vasconcelos Avelar
Keyword(s):  
African American ◽  
Short Story ◽  
English Language ◽  
Gilles Deleuze ◽  
Felix Guattari ◽  
Minor Literature ◽  
Paul Laurence Dunbar ◽  
Major Language ◽  
Recurrent Process ◽  
Shed Light

The article makes use of Gilles Deleuze and Félix Guattari’s concept of minor literature - i.e. that which is produced by a minority within a major language - to shed light on the displacements imposed by Afro-American writers upon the symbolic tradition they inherit through the English language. By means of an analysis of a short story by Katherine Porter and a poem by Paul Laurence Dunbar, emphasis is placed on the recurrent process of demetaphorization one finds in African-American texts. Such Processes are shown to entail a theory of translation that highlights difference and contests the authority of the original. O artigo utiliza, a partir de Gilles Deleuze e Félix Guattari, o conceito de literatura menor – literatura produzida por uma minoria no interior de uma língua majoritária - para analisar os deslocamentos operados pelos escritores negros americanos na tradição simbólica herdada por eles através da língua inglesa. Por meio de uma leitura de um conto de Katherine Porter e um poema de Paul Laurence Dunbar, enfatiza-se os recorrentes processos de desmetaforização encontrados nos textos afro-americanos. Num momento seguinte, mostra-se que tais processos implicam uma teoria da tradução que privilegia a diferença e contesta a autoridade do original.

Introduction

2017 ◽  
Author(s):  
Britt Rusert
Keyword(s):  
African American ◽  
Travel Writing ◽  
Atlantic World ◽  
American Studies ◽  
Gilles Deleuze ◽  
African American Studies ◽  
Science Writing ◽  
Felix Guattari ◽  
Racial Science ◽  
Scientific Exchange

The introduction lays out the historical and conceptual dimensions of fugitive science, a concept that emerges out of scholarship on fugitivity in African American studies as well as the theorization of empiricism and minor science in the philosophy of Gilles Deleuze and Félix Guattari. It also chronicles the embeddedness of US racial science in networks of travel, writing, and scientific exchange across the Atlantic world. Finally, it illuminates the centrality of science writing in the antebellum black print sphere, while gesturing toward those forms of vernacular science that largely eluded the print archive.

O Pequeno e o Grande Emílio: elementos para pensar a pedagogia e a produção de subjetividades

2020 ◽  
Vol 14 (39) ◽  
pp. 155-184
Author(s):  
Bruno Gonçalves Borges
Keyword(s):  
Gilles Deleuze ◽  
Felix Guattari

O problema que pretende responder este texto pode ser resumido ao questionamento acerca do processo que levou a pedagogia a se tornar uma peça indispensável de uma engenhosa estrutura de produção de subjetividades na era capitalista. Para tanto, esse problema ganha contornos a partir do esboço de um cenário dual, em que há de um lado, um Pequeno Emílio, originário da obra rousseauniana , desprendido do desejo de formulação de um padrão subjetivo, ainda que aspectos de um naturalismo liberal sejam pertinentes a ele; e, de outro, um Grande Emílio, produto de uma “pequena”, mas incessante e, talvez, pretensiosa resposta ao problema do governo de si e dos outros por meio dos usos de uma pedagogia científica e suas variações, encerrada na ideia de formação plena de um corpo social que reduz a multiplicidade aos níveis economicamente produtivos. Ao propor a abordagem em questão, este texto lança mão de uma análise ao estilo esquizo dos filósofos franceses Gilles Deleuze e Félix Guattari de textos importantes para a filosofia da educação e da própria pedagogia em função de encontrar suporte para os elementos de uma produção subjetiva em curso que passa pela pedagogia.

Fixing Improvisation

2014 ◽  
Author(s):  
Anthea Kraut
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Intellectual Property ◽  
Case Studies ◽  
Copyright Law ◽  
Property Law ◽  
Intellectual Property Law ◽  
Tap Dance ◽  
American Vernacular ◽  
The Relationship

This chapter juxtaposes brief case studies of African American vernacular dancers from the first half of the twentieth century in order to reexamine the relationship between the ideology of intellectual property law and the traditions of jazz and tap dance, which rely heavily on improvisation. The examples of the blackface performer Johnny Hudgins, who claimed a copyright in his pantomime routine in the 1920s, and of Fred and Sledge, the class-act dance duo featured in the hit 1948 musical Kiss Me, Kate, whose choreography was copyrighted by the white modern dancer Hanya Holm, prompt a rethinking of the assumed opposition between the originality and fixity requirements of copyright law and the improvisatory ethos of jazz and tap dance. Ultimately, the chapter argues that whether claiming or disavowing uniqueness, embracing or resisting documentation, African American vernacular dancers were both advantaged and hampered by copyright law.

BACK ON CIRCE'S ISLAND

Ramus ◽  
2020 ◽  
Vol 49 (1-2) ◽  
pp. 213-235
Author(s):  
Michiel van Veldhuizen
Keyword(s):  
Science Fiction ◽  
Analogical Reasoning ◽  
Gilles Deleuze ◽  
Margaret Atwood ◽  
Classical Antiquity ◽  
Felix Guattari ◽  
Dio Chrysostom ◽  
The Witch ◽  
The Moment ◽  
Physical Degradation

The reception of Circe's island in and through Classical Antiquity has largely focused on the enigmatic sorceress herself. The long literary chain of interpretive topoi—Circe the witch, the whore, the temptress—stretches from Apollonius, Virgil, Ovid, and Dio Chrysostom to Spenser, Calderón, Joyce, Margaret Atwood, and Madeline Miller. Her role as Odysseus’ benefactor, so unmistakable in Homer, is soon forgotten; to Virgil, she is above all dea saeva, (‘the savage goddess’, Aen. 7.19). One distinguishing feature of Circe and her reception is the focus on representation: the enchantment of Circe, as Greta Hawes puts it, is above all a study in allegory. From the moment Circe put a spell on Odysseus’ companions, transforming them into animals in Book 10 of the Odyssey, Circe has invited analogical reasoning, centered on what the transformation from one being into another represents. More often than not, this transformation is interpreted according to a dualist thinking about humans and animals: subjects are transformed from one being into another being, thus representing some moral or physical degradation. This article, by contrast, concentrates on Circe's island through the lens of becoming-animal, the concept developed by Gilles Deleuze and Félix Guattari in the tenth plateau of A Thousand Plateaus, ‘1730: Becoming-Intense, Becoming-Animal, Becoming-Imperceptible…’. I explicate the concept of becoming-animal by applying it to a Deleuzian encounter with Circe's island, both in its ancient articulations and in its various receptions, including H.G. Wells's science fiction novel The Island of Dr. Moreau.

scholarly journals Becoming Child and Sustainability—The Kindergarten Teacher as Agency Mobiliser for Sustainability through Keeping the Concept of the Child in Play

2021 ◽  
Vol 13 (10) ◽  
pp. 5588
Author(s):  
Anita Tvedt Crisostomo ◽  
Anne B. Reinertsen
Keyword(s):  
Gilles Deleuze ◽  
Kindergarten Teacher ◽  
Felix Guattari ◽  
Teacher Roles ◽  
Educational Organization ◽  
Nature And Culture ◽  
And Function ◽  
Opening Up ◽  
Power Position

In this article, we seek to theorize the role of the kindergarten teacher as an agency mobiliser for sustainability through keeping the concept of the child in play, ultimately envisioning the child as a knowledgeable and connectable collective. This implies a non-dialectical politics of multiplicity ready to support and join a creative pluralism of educational organization and teacher roles for sustainability. Comprising friction zones between actual and virtual multiplicities that replace discursive productions of educational policies with enfoldedness, relations between bodies and becomings. This changes the power, position and function of language in and for agency and change. Not through making the child a constructivist change-agent through language but through opening up the possibilities for teachers to explore relations between language and matter, nature and culture and what might be produced collectively and individually. We go via the concepts of agencement expanding on the concept of agency, and conceptual personae directing the becoming of the kindergarten teacher. Both concepts informed by the transformational pragmatics of Gilles Deleuze (1925–1995) and Félix Guattari (1930–1992). The overarching contribution of this article is therefore political and pragmatic and concerns the constitution of subjectivity and transformative citizenships for sustainability in inter- and intra-generational perspectives.

Allegories of Creativity and Territory

PMLA ◽  
2003 ◽  
Vol 118 (1) ◽  
pp. 114-119 ◽  
Author(s):  
Roger Bartra
Keyword(s):  
Aggressive Behavior ◽  
Ecological Niche ◽  
Gilles Deleuze ◽  
Social Groups ◽  
Modern Society ◽  
Felix Guattari ◽  
Human Beings ◽  
Death Of God

Ecology defines territory as an area defended by an organism or a group of similar organisms with the purpose of pairing off, nesting, resting, and feeding. The defense of this space frequently brings about an aggressive behavior toward intruders and the marking of boundaries by means of repulsive chemical odors. Human beings, though they lack a precise ecological niche and are capable of adapting themselves to diverse spaces, also define territorial limits, from which emanate particular aromas that identify certain social groups. This is a question not of chemical perfumes but rather of codified cultural effusions that fill these groups with pride, even though they may, on occasion, strike others as repulsive. Many years ago, theories established that modern society impels a relentless process of deterritorialization and decodification, a process that tends to be ill regarded by ecologists, the populist left, fundamentalists, and conservatives. The proponents of this idea in the 1970s, Gilles Deleuze and Félix Guattari, stated in their renowned but forgotten book Anti-Oedipus (1972) that this process would end in the liberation of “desiring machines” and the dismantling of the oppressive state, in the same way that the death of God announced by Nietzsche was to be a liberating catastrophe. It is curious that these theories should end up hermetically codified and entombed beneath the seven seals of postmodernism and deconstruction, in the territory of an insufferable and unnecessary jargon.

Defining the envelope of linguistic variation: The case of “don't count” forms in the copula analysis of African American Vernacular English

1997 ◽  
Vol 9 (1) ◽  
pp. 57-79 ◽  
Author(s):  
Renée Blake
Keyword(s):  
African American ◽  
African American Vernacular English ◽  
Linguistic Variation ◽  
Final Position ◽  
Vernacular English ◽  
Quantitative Analyses ◽  
American Vernacular ◽  
Variable Analysis

ABSTRACTEver since Labov, Cohen, Robbins, and Lewis's (1968) pioneering study, it has been commonplace to set aside certain tokens in analyzing variability in the English copula as “don't count” (DC) forms. These cases are most often occurrences of the copula that exhibit categorical behavior (as with the full copula in clause-final position), as well as those that are ambiguous or indeterminate. In this article, I propose a set of copula forms that should be set aside from variable analysis as instances of DC forms to allow for systematic comparisons among studies. I review the major alternative descriptions of DC copula cases in the literature and analyze the behavior of the traditional DC categories. New data are presented to support the exclusion of particular DC cases from analyses of copula variability. Among the conclusions are that [was], [thas], and [is] should be excluded from quantitative analyses of variation in the copula because of their invariant status, and that a number of tokens commonly included (e.g., questions) should be excluded on various grounds.

African-American Vernacular Dance

1985 ◽  
Vol 15 (4) ◽  
pp. 427-445 ◽  
Author(s):  
Katrina Hazzard-Gordon
Keyword(s):  
African American ◽  
American Vernacular ◽  
Vernacular Dance
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