Darker than Blue: On the Moral Economies of Black Atlantic Culture. Cambridge, MA: Harvard UP, 2010 by Paul Gilroy

2012 ◽  
Vol 24 (1) ◽  
pp. 107-111
Author(s):  
Tavia Nyong'o
Keyword(s):  
Black Atlantic ◽  
Moral Economies ◽  
Paul Gilroy

scholarly journals Strange Encounter of the Third Kind

2020 ◽  
Vol 4 (1) ◽  
Author(s):  
Hess Andreas
Keyword(s):  
Black Atlantic ◽  
Du Bois ◽  
The Third ◽  
Black Intellectual ◽  
Paul Gilroy

In this paper the author takes issue with the notion of the Black Atlantic as discussed by the British scholar Paul Gilroy. While sympathising with the overall perspective it criticises Gilroy's uncritical, almost iconographic, approach to black intellectual celebrities such as W. E. B. Du Bois and C. L. R. James and particularly their discussion of Marxist tropes and communist politics.

The Jewish Atlantic: Diaspora and Pop Music

2019 ◽  
pp. 109-130
Author(s):  
Caspar Battegay
Keyword(s):  
Hip Hop ◽  
Black Atlantic ◽  
Pop Music ◽  
Music Business ◽  
Intercultural Exchange ◽  
Cultural Minorities ◽  
Rock N Roll ◽  
Paul Gilroy ◽  
The Relationship ◽  
Production Conditions

This chapter discusses the emergence of pop music as a distinctive musical genre intended for very wide audiences and often controlled by the giants of the music business. It describes how pop is characterized by the specific conditions of religious and cultural minorities that are closely linked to African American history, such as jazz, blues, rock 'n' roll, reggae, disco music, soul, and hip hop. It also mentions the British scholar of cultural studies named Paul Gilroy, who defined the production conditions of hip hop as transnational structures of circulation and intercultural exchange. The chapter examines the relationship between the hip hop world and the real world that changed since Gilroy's observations in the 1990s. It talks about the insistence on the diasporic context of the 'Black Atlantic' and its kinship with Jewish modernity that remains pivotal to any pursuit of the diaspora in popular culture.

Introduction

2020 ◽  
pp. 1-26
Author(s):  
Ian Moyer ◽  
Adam Lecznar ◽  
Heidi Morse
Keyword(s):  
Black Atlantic ◽  
Contemporary Politics ◽  
European Heritage ◽  
Classical Humanism ◽  
Paul Gilroy ◽  
Racial Hierarchies

This introductory chapter explores the key themes of Classicisms in the Black Atlantic, and introduces the structure of the work, the essays in question, and contemporary debates to which the collection is responding. Drawing on the work of Paul Gilroy, the authors argue that the essays in the volume demonstrate the productive results that issue from re-examining historical relationships between modern classicism and the construction of race and racial hierarchies, as well as the making and remaking of various forms of classicism by intellectuals, writers, and artists circulating in the diasporic world of the Black Atlantic. These explorations provide grounds for challenging racialized visions of the classics as a white European heritage that have re-emerged in contemporary politics, and for reimagining the role of classical humanism in anti-racist struggles.

Slavery, Modernity, and the Turn towards Death in the Black Atlantic World of Yoknapatawpha County

2019 ◽  
pp. 208-286
Author(s):  
Jay Watson
Keyword(s):  
Race Relations ◽  
Black Atlantic ◽  
Fear Of Death ◽  
Just World ◽  
Black Intellectual ◽  
The Subject ◽  
Atlantic Slavery ◽  
Yoknapatawpha County ◽  
Paul Gilroy ◽  
Struggle For Recognition

As Faulkner wrote his way into the crisis of Mississippi race relations across the 1930s and 1940s, he turned with increasing frequency to the subject of slavery and the figures of black slaves. In these figures he progressively recognized what Paul Gilroy identifies as a counter-Hegelian modernity that rewrites Hegel’s master–slave dialectic along new lines. Where for Hegel the struggle for recognition between lord and bondsman was predicated on the latter’s inevitable submission to the former, Faulkner’s fictions of slavery come more nearly to evoke a black intellectual legacy in which the dialectic pivots not on the slave’s fear of death but on what Gilroy calls the turn towards death. Here death functions not as an index of despair, surrender, or flight, but as a powerful ontological resource, a revolutionary negation of Atlantic slavery whose eschatological implications point to the possibility of a freer and more just world elsewhere.

Classicisms in the Black Atlantic

2020 ◽  
Keyword(s):  
Social Status ◽  
Visual Arts ◽  
Black Atlantic ◽  
Classical Antiquity ◽  
Literary Studies ◽  
Middle Passage ◽  
Shared Goal ◽  
Paul Gilroy

This volume presents a series of studies on literary, artistic, and political uses of classical antiquity in modern constructions of race, nation, and identity in the Black Atlantic. In the fraught dialogue between race and classics there emerged new classicisms, products of the diasporic chronotope defined by Paul Gilroy as originating in the violence of the Middle Passage. Contributions to the volume explore the work and thought of writers and artists circulating in the Black Atlantic, and their use of heterogeneous classicisms in representing their identities and experiences, and in critiquing hegemonic Eurocentric or racialized classicism. Ranging across anglophone, francophone, and hispanophone worlds, and coming from an array of disciplinary perspectives including historical and biographical approaches, literary studies, and visual arts, these essays join in the shared goal of examining past and present intersections between classicisms, race, gender, and social status.

scholarly journals The Black Atlantic as reversal: A reappraisal of African and black theology

2017 ◽  
Vol 73 (3) ◽  
Author(s):  
Hans Engdahl
Keyword(s):  
South African ◽  
Black Church ◽  
The United States ◽  
Black Atlantic ◽  
Black Theology ◽  
African Theology ◽  
African Perspective ◽  
American Black ◽  
Paul Gilroy ◽  
Desmond Tutu

In this article, I will try to do three things. Firstly, pay attention to the notion of Black Atlantic as coined by Paul Gilroy, which in effect could signify a reversal of colonialism and slavery. Secondly, revisit the 1970s and the debate about the relevance of Black theology vis-à-vis African theology, using John Mbiti’s article ‘An African Views American Black Theology’ as entry point. Here, I will discuss contributions also made by Desmond Tutu and James Cone. Thirdly, starting with the premise that both theologies are relevant and soul mates today, which would (probably) be confirmed by all the above mentioned at this point in time, an assessment of current voices will be made, that is, Tinyiko Maluleke and Vuyani Vellem on black and African ecclesiologies from a South African perspective, and Lawrence Burnley on the fate of the Black Church in the United States.

scholarly journals Paul Gilroy’s The Black Atlantic Quarter a Century Later: Cultural Implications of African Diaspora’s Revision of Modernity

2020 ◽  
Vol 3 (12) ◽  
pp. 47-55
Author(s):  
Lahoussine Hamdoune
Keyword(s):  
Postcolonial Studies ◽  
Black Atlantic ◽  
Black Diaspora ◽  
Cultural Hybridity ◽  
Double Consciousness ◽  
Diaspora Studies ◽  
Cultural Implications ◽  
And Performance ◽  
Paul Gilroy ◽  
Definition Of

In his seminal book The Black Atlantic: Modernity and Double Consciousness (1993) Paul Gilroy traces an account of the Black diaspora as a cosmopolitan, historical and cultural Atlantic phenomenon that challenges and corrects Modern construction of ‘culture,’ ‘nation,’ ‘history,’ and ultimately ‘identity.’ Although the book was conceived quarter a century ago, it still continues to influence Black Studies, Migration Studies, Postcolonial Studies, and Diaspora Studies. The present paper intends to shed light and reflect on the two most influential aspects of Gilroy’s book today. One such aspect is Gilroy’s exploration of Black Atlantic histories of (criss)-crossing, migration, interconnection, travel, and exile-- together with the form, content, and performance of diasporic expressive forms-- to revisit the tradition of Modernity and Enlightenment rationality. The other aspect, following from the first, is that while interrogating “national,” “nationalistic,” and “ethnically absolutist paradigms” such as “Englishness,” “Africanism” and “tradition,” he highlights cultural hybridity, transnationality, and memory. By so doing he subverts modernity’s racialized monolithic definition of ‘culture’ and ‘nation (state)’ along with its construction and association with teleological historiography.

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