scholarly journals The fire this time: Grenfell, racial capitalism and the urbanisation of empire

2019 ◽  
Vol 26 (1) ◽  
pp. 289-313 ◽  
Author(s):  
Ida Danewid

Over the last few years, an emergent body of International Relations scholarship has taken an interest in the rise of global cities and the challenges they bring to existing geographies of power. In this article, I argue that a focus on race and empire should be central to this literature. Using the Grenfell Tower fire in London as a starting point, the article shows that global cities are part of a historical and ongoing imperial terrain. From London to New York, São Paulo to Cape Town, Singapore to Cairo, the ‘making’ of global cities has typically gone hand in hand with racialized forms of displacement, dispossession and police violence. Drawing on the literature on racial capitalism, as well as Aimé Césaire’s image of the ‘boomerang’, I show that these strategies build on practices of urban planning, slum administration and law-and-order policing long experimented with in the (post)colonies. By examining the colonial dimensions of what many assume to be a strictly national problem for the welfare state, the article thus reveals global cities as part of a much wider cartography of imperial and racial violence. This not only calls into question the presentism of scholarship that highlights the ‘newness’ of neoliberal urbanism. In demonstrating how global cities and colonial borderlands are bound together through racial capitalism, it also exposes the positionality of scholars and policymakers that seek to counter the violence of neoliberalism with a nostalgic return to the post-1945 welfare state. As the Grenfell fire revealed, the global city is less a new type of international actor or governance structure than an extension and reconfiguration of the domestic space of empire.

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.


Processes ◽  
2021 ◽  
Vol 9 (8) ◽  
pp. 1367
Author(s):  
Valentina Obradović ◽  
Jurislav Babić ◽  
Verica Dragović-Uzelac ◽  
Antun Jozinović ◽  
Đurđica Ačkar ◽  
...  

The objective of this research was to investigate the potentiality of carrot powder (CP) utilization at levels 4, 6, or 8% as ingredient of corn snacks and evaluation of the extrusion influence on functionally important ingredients such as carotenoids (color), polyphenols, fiber, fat, and antioxidant activity. The influence of ascorbic acid (AA) as an external source at levels 0.5 and 1% on this particular extrusion was also investigated. A single-screw extruder at two temperature regimes (135/170/170 °C (E1) and 100/150/150 °C (E2)) carried out extrusion. The E1 temperature regime acted favorably on total polyphenol content and crude fiber, but fat preferred the E2 regime. Extrusion, especially the E1 temperature regime, increased the extractability of carotenoids. Ascorbic acid degraded during extrusion, but it still provided protection to carotenoids and color attributes of extrudates. Snacks with increased nutritional and functional value due to carrot powder addition were successfully produced, which is a starting point for production of a new type of extruded snacks.


2021 ◽  
pp. 009614422199964
Author(s):  
Glenn Dyer

Historians have conducted important research on the rise of law-and-order politics in New York City, where anxieties over women’s freedoms, political battles over police oversight, and crime impacts in poor communities contributed to its rise. The numerous walkouts, negotiations, and worker-management conflicts around high-crime areas in New York City suggest that the question of law and order was a salient workplace issue as well for the members of Communication Workers of America Local 1101. In their case, such concerns predate the rhetorical rise of law and order and help us better understand why such politics found fertile ground among working-class New Yorkers, white and black. Repeated incidences, largely in the city’s black ghettoes, prompted workers with a strong class consciousness and commitment to solidarity to transform the problems and experiences of individual workers into a shared question to be addressed via collective action.


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