Space Race

2021 ◽  
Vol 7 (3) ◽  
pp. 19-52
Author(s):  
Ryan Conrath
Keyword(s):  
Cultural Geography ◽  
Black Feminism ◽  
Spatial Dynamics ◽  
Edouard Glissant ◽  
Aesthetics And Politics ◽  
Black Feminist ◽  
Space Race ◽  
Cinematic Space ◽  
Contemporary Artist ◽  
The Aesthetic

This paper discusses the practice of contemporary artist Cauleen Smith as an ongoing exploration of the aesthetic and political possibilities of cinematic space, place, and movement. Drawing upon a range of critical frameworks from cultural geography and Black feminism, it locates in Smith’s work an aesthetics and politics of errantry that favors radically nonnormative forms of relation and mobility. Borrowing the term from Martinican novelist and critic Édouard Glissant, and drawing more broadly from his thoroughgoing elucidations of the spatial dynamics of colonialism, the plantation system, and their afterlives, the text frames Smith’s cinematic errantry both as a formal and technological operation and as a political one grounded in a Black feminist praxis of place.

scholarly journals Black feminist intersectionality is vital to group analysis: Can group analysis allow outsider ideas in?

2021 ◽  
pp. 053331642199776
Author(s):  
Suryia Nayak
Keyword(s):  
Black Women ◽  
Black People ◽  
Black Feminism ◽  
Group Analysis ◽  
Black Feminist ◽  
Online Platform ◽  
Large Group ◽  
Diversity And Inclusion ◽  
Analytical Structure ◽  
The Relationship

This is the transcript of a speech I gave at an Institute of Group Analysis (IGA) event on the 28th November 2020 about intersectionality and groups analysis. This was momentous for group analysis because it was the first IGA event to focus on black feminist intersectionality. Noteworthy, because it is so rare, the large group was convened by two black women, qualified members of the IGA—a deliberate intervention in keeping with my questioning of the relationship between group analysis and power, privilege, and position. This event took place during the Covid-19 pandemic via an online platform called ‘Zoom’. Whilst holding the event online had implications for the embodied visceral experience of the audience, it enabled an international attendance, including members of Group Analysis India. Invitation to the event: ‘Why the black feminist idea of intersectionality is vital to group analysis’ Using black feminist intersectionality, this workshop explores two interconnected issues: • Group analysis is about integration of parts, but how do we do this across difference in power, privilege, and position? • Can group analysis allow outsider ideas in? This question goes to the heart of who/ what we include in group analytic practice—what about black feminism? If there ‘cannot possibly be one single version of the truth so we need to hear as many different versions of it as we can’ (Blackwell, 2003: 462), we need to include as many different situated standpoints as possible. Here is where and why the black feminist idea of intersectionality is vital to group analysis. On equality, diversity and inclusion, intersectionality says that the ‘problems of exclusion cannot be solved simply by including black [people] within an already established analytical structure’ (Crenshaw, 1989: 140). Can group analysis allow the outsider idea of intersectionality in?

Working-Class Writing and the Use Value of the Literary

PMLA ◽  
2012 ◽  
Vol 127 (4) ◽  
pp. 932-938 ◽  
Author(s):  
Sonali Perera
Keyword(s):  
Working Class ◽  
World Literature ◽  
Literary Texts ◽  
Second Phase ◽  
Use Value ◽  
Aesthetics And Politics ◽  
Republic Of Letters ◽  
Greenwich Meridian ◽  
Country Culture ◽  
The Aesthetic

Formal preoccupations, which is to say specifically literary concerns, appear in small literatures only in a second phase, when an initial stock of literary resources has been accumulated and the first international artists find themselves in a position to challenge the aesthetic assumptions associated with realism and to exploit the revolutionary advances achieved at the Greenwich meridian.—Pascale Casanova, The World Republic of Letters“In our country culture has become so complex, this complexity is reflected in our literature. It takes a certain level of education to understand our novelists. The ordinary man cannot understand them …” … And she reeled off a list of authors, smiling smugly. It never occurred to her that these authors had ceased to be of any value whatsoever to their society—or was it really true that an extreme height of culture and the incomprehensible went hand in hand?—Bessie Head, A Question of Power (first ellipsis in orig.)ON WHAT BASIS ARE SELECT TRADITIONS OF LITERARY INTERNATIONALISM RECOGNIZED AS WORLD LITERATURE AND OTHERS DEEMED MERELY historical, relics of nostalgic Marxism or of resolved debates on aesthetics and politics? According to recent influential formulations, world literature is writing that in original or translated form circulates outside the author's country of origin. But what of traditions of literary internationalism, like those of working-class writing, that reverse and displace practical, utilitarian propositions to ask, instead, in more abstract terms, what is the use value of the literary? Bessie Head's A Question of Power poses a challenge to practical definitions. What of literary texts that have global currency but aren't of “any value whatsoever to their society”?

scholarly journals Black Feminist Triptych

Homiletic ◽  
2020 ◽  
Vol 45 (2) ◽  
pp. 5-13
Author(s):  
Donyelle C. McCray
Keyword(s):  
Black Feminism ◽  
Alice Walker ◽  
Black Feminist ◽  
Speech Event ◽  
Angela Davis ◽  
June Jordan

Two driving features of Black feminism are care and collectivity. This article considers them as vectors for Christian preaching. I focus on a specific speech event that involves Alice Walker, Angela Davis, and June Jordan, and treat it as a case study for Black feminist preaching. Ultimately, I propose a triptych approach to preaching that entails layering sermonic messages, accommodating dissonance, and foregrounding mutuality.

The Critical-Linguistic Critique of the Aesthetic Ideology in the Late Writing of Paul de Man

Labyrinth ◽  
2021 ◽  
Vol 22 (2) ◽  
pp. 9
Author(s):  
Jeremy Spencer
Keyword(s):  
Twentieth Century ◽  
Political Practice ◽  
Paul De Man ◽  
Aesthetics And Politics ◽  
Property Relations ◽  
Aesthetic Ideology ◽  
The Aesthetic ◽  
De Man ◽  
The Relationship

The focus of this essay is Paul de Man's provocative antipathy towards the category of the aesthetic in his late writings on philosophical aesthetics. I introduce de Man's critique of what he terms aesthetic ideology – a form of ideological communication – which he considers manifest in the aesthetics of Schiller in particular but also in more scrupulously critical philosophers. I begin the essay with Benjamin's well known observation that twentieth century fascisms aestheticized political practice as part of a defence of existing property relations. I introduce de Man's critique of aesthetic ideology as a way of developing or elaborating on what are relatively sketchy comments on the relationship aesthetics and politics in Benjamin's earlier essay.

scholarly journals The Aesthetic Revival

1970 ◽  
Vol 17 (2) ◽  
Author(s):  
Lachlan MacDowall
Keyword(s):  
Aesthetics And Politics ◽  
The Aesthetic

A review of Bether Hinderliter, William Kaizen, Vered Maison, Jaleh Mansoor and Seth McCormick (eds), Communities of Self: Rethinking Aesthetics and Politics (Duke, 2009)

Replaying Video Game History as a Mixtape of Black Feminist Thought

2020 ◽  
Vol 6 (1) ◽  
pp. 93-118
Author(s):  
TreaAndrea M. Russworm ◽  
Samantha Blackmon
Keyword(s):  
Black Women ◽  
Video Games ◽  
Digital Media ◽  
Video Game ◽  
Black Feminism ◽  
Women Performers ◽  
Women's Labor ◽  
Black Feminist ◽  
Combahee River Collective ◽  
Game Industry

This article, a Black feminist mixtape, blends music, interviews, and critical analysis in order to demonstrate some of the ways in which Black women have impactfully engaged with the video game industry. Organized as musical “tracks,” it uses lyrics by Black women performers as a critical and cultural frame for understanding some of the work Black women have done with video games. In prioritizing the personal as not only political but also instructive for how we might think about digital media histories and feminism, each mixtape track focuses on Black women's lived experiences with games. As it argues throughout, Black feminism as defined and experienced by the Combahee River Collective of the 1970s has been an active and meaningful part of Black women's labor and play practices with video games.

Maori Sovereignty, Black Feminism, and the New Zealand Trade Union Movement

2017 ◽  
Author(s):  
Cybèle Locke
Keyword(s):  
New Zealand ◽  
Small Group ◽  
Trade Union ◽  
Black Feminism ◽  
Historical Context ◽  
Black Feminist ◽  
Trade Union Movement ◽  
Philosophical Position ◽  
Union Movement ◽  
Radical Ideas

In 1982, an incident occurred at the Auckland Trade Union Centre in New Zealand. A small group of Maori radicals, called Black Unity, who ran the Polynesian Resource Centre were accused of antitrade unionism and racism and, consequently, were evicted from the Auckland Trade Union Centre with the assistance of the New Zealand police. This chapter explores the radical ideas of Maori sovereignty and Black feminism propagated by Black Unity that inflamed Auckland trade unionists, focusing on the writings of the group's spokeswomen, Ripeka Evans and Donna Awatere. It chapter examines the philosophical position that Maori nationalist members of Black Unity espoused. It explores the historical context for the demand for Maori sovereignty first articulated by Black Unity in 1981; explains why the Maori sovereignty position was also a Black feminist position; and asks what led Maori women to turn with such anger on the radical Left in the early 1980s Finally, it analyzes the longer-term affect of Maori sovereignty demands on the Maori protest movement, the women's movement, the sectarian Left, and the trade union movement.

Untimely Love: The Aesthetics and Politics of Anachronism in The Age of Innocence

2020 ◽  
Vol 53 (2) ◽  
pp. 254-273
Author(s):  
John Sampson
Keyword(s):  
New York ◽  
Aesthetics And Politics ◽  
Free Love ◽  
Central Park ◽  
Metropolitan Museum Of Art ◽  
Modern Novel ◽  
Political Implications ◽  
The Age Of Innocence ◽  
The Aesthetic ◽  
Emma Goldman

Abstract “Untimely Love” reassesses the aesthetic choices and political implications of Edith Wharton's The Age of Innocence (1920), first by highlighting a surprising overlap between Wharton and the anarcho-feminist Emma Goldman. Wharton's novelistic critique of New York society's marriage rituals, spurred by an unconsummated affair between Newland Archer and his wife's cousin Ellen Olenska, follows Goldman in positing an antagonism between the hierarchies of marriage and the equalizing nature of love. For Wharton, however, this antagonism will not be resolved with free love one day triumphing. To explain her position, the article turns to Jacques Rancière's unresolvable antagonism between “politics” and “the police,” which has an aesthetic analogue in the clash between the formally anarchic modern novel and premodern hierarchies of genre. Wharton unearths 1870s New York like an archeologist to expose how its patriarchal logic polices women's sexuality within and outside marriage, making expressions of love quite rare. Wharton unleashes the disruptive power of love through formal experimentation, temporarily subverting her own historical realism, when she has Ellen and Archer visit the Metropolitan Museum of Art in Central Park, which did not yet exist in the novel's timeframe. The Met's impossible location and its uncataloged holdings open to public viewing upset New York's social and aesthetic hierarchies. It is in this anachronistic and democratic context that Archer first sees “love visible” in the world, rearranging his entire worldview. Wharton, in a related political gesture of aesthetic dissensus, aligns her untimely lovers with the museum's suddenly visible ghosts of history.

Precarious Resistance: Weaving Opposition in the Poetry of Cecilia Vicuña

PMLA ◽  
2005 ◽  
Vol 120 (5) ◽  
pp. 1588-1607 ◽  
Author(s):  
Juliet Lynd
Keyword(s):  
Cultural Memory ◽  
Visual Art ◽  
Aesthetics And Politics ◽  
Neoliberal Globalization ◽  
Complex Relation ◽  
History Of ◽  
The Aesthetic

Woven through the threads of the poetry, performance, and visual art of Cecilia Vicuña are the image and metaphor of weaving itself, a visual and cultural reminder of an other—indigenous and feminine—form of forging cultural memory. Ever committed to using the aesthetic both to remember the violent exclusions of history and to explore the perpetuation and transformation of the marginalizing structures of power in the present, Vicuña's multigenre work spans over thirty years of Chile's turbulent history of struggle with dictatorship and toward democracy. This essay analyzes the interlacing of textile and text in quipoem, a collection of the poetry and visual art of this author-artist that re-presents a constantly evolving theorization of the complex relation between aesthetics and politics, writing and difference, and memory and power in the postcolonial, postdictatorship context of the Americas in the age of neoliberal globalization.

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