Aimé Césaire: The Poet's Passion

2008 ◽  
Vol 27 ◽  
pp. 119-123
Author(s):  
Edouard Glissant
Keyword(s):  
Aime Cesaire

Aimé Césaire by Véronique Corinus

2020 ◽  
Vol 93 (4) ◽  
pp. 202-203
Author(s):  
Jeremy Patterson
Keyword(s):  
Aime Cesaire

Sartre’s imaginary and the problem of whiteness

2021 ◽  
pp. 019145372110175
Author(s):  
Betty Jean Stoneman
Keyword(s):  
Aime Cesaire ◽  
Frantz Fanon ◽  
White People ◽  
Jean Paul ◽  
Political Act ◽  
White Gaze

Jean-Paul Sartre’s failures in Black Orpheus have been widely and rightly explicated by a number of theorists, most notably Frantz Fanon and Aimé Césaire. Sartre has rightly been criticized for imposing a white gaze onto his reading of colonized African poetry. It would seem that his work offers us no tools for anti-racist work today. For this article, I read his failures in the text alongside his work in The Imaginary and Being and Nothingness to argue that we can learn from his failures and that his failures do offer us conceptual tools for anti-racist work today. I argue that Sartre’s main contribution ought to be understood as a provocation to white people. He is provoking white people to confront how whiteness works in their imaginary. The imaginary is nothing but what one puts into it, and what one puts into it is imbued with the historical, social and cultural. The image is imbued with the individual’s experiences within a historical, social and cultural situation. If this is the case, then the confrontation with and critique of the image is a political act. In confronting and critiquing the image, one is confronting and critiquing the situation in which the image emerges. The hope is that in doing so, white people could transcend the facticity of their whiteness in particular situations for the better, which in turn would have positive consequences for the larger sociopolitical situation.

Spirit of Bandung beyond Colonial Mobility

2019 ◽  
Vol 6 (2) ◽  
pp. 190-209
Author(s):  
Jeong Eun Annabel We
Keyword(s):  
Aime Cesaire ◽  
Frantz Fanon ◽  
Ernst Bloch ◽  
Revolutionary Movement ◽  
Liberal Humanism ◽  
Current Paradigm

This article argues that the spirit of Bandung’s relevance in a time of resurgent fascist mobilization is in the new logic of movement that the 1955 Afro-Asian conference in Bandung, Indonesia espoused. The critiques of liberal humanism and its relation to fascism by Ernst Bloch, Takeuchi Yoshimi, and Aimé Césaire reveal that an underlying problem of coloniality and movement remain in current paradigm of liberalism. The article situates conceptual reworkings of colonial-fascist movement by the thinkers Takeuchi Yoshimi, Frantz Fanon, and Ch’oe In-Hun within the trajectory of the spirit of Bandung. Through this engagement, the article argues that the spirit of Bandung has called for revolutionary movement beyond the grids of colonial mobility in the transpacific.

Aimé Césaire à l’œuvre (review)

2012 ◽  
Vol 27 (1) ◽  
pp. 293-297
Author(s):  
Isabelle Constant
Keyword(s):  
Aime Cesaire

Aimé Césaire, the collected poetry

1983 ◽  
Author(s):  
Aimé Césaire
Keyword(s):  
Aime Cesaire

scholarly journals Languages of return: Aimé Césaire and Dany Laferrière

2018 ◽  
Vol 22 (2) ◽  
pp. 180-198
Author(s):  
Jane Hiddleston
Keyword(s):  
Aime Cesaire ◽  
Dany Laferriere

scholarly journals Black Orpheus and Aesthetic Historicism

2011 ◽  
Vol 19 (2) ◽  
pp. 121-135
Author(s):  
Marina Paola Banchetti-Robino
Keyword(s):  
Aime Cesaire ◽  
Black Liberation ◽  
Jean Paul ◽  
Novel Approach

This essay offers a novel approach for understanding the poetry of negritude and its role in the struggle for black liberation by appealing to Giambattista Vico’s insights on the historical, cultural, and myth-making function of poetry and of the mythopoetic imagination.  The essay begins with a discussion of Vico’s aesthetic historicism and of his ideas regarding the role of imagination, poetry, and myth-making and then brings these ideas to bear on the discussion of the function of negritude poetry, focusing primarily on the writings of Aimé Césaire and on Jean-Paul Sartre’s essay, Black Orpheus.

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