Lecture 8: Hegemony and Rhetoric Analysis

The connection between rhetoric and hegemony leads us back to Kenneth Burke’s work on political critique and the subtle ways discourse shapes political consciousness. This lecture also looks at how Ernesto Laclau connects rhetoric and the theory of articulation; Joseph Nye’s work on soft power; Timothy Borchers’ discourse on the work of rhetorician Dana Cloud; and Robert Ivie’s thoughts on balancing the opposing notions of identification and division. La connexion entre rhétorique et hégémonie nous ramène aux écrits de Kenneth Burke sur la critique politique et les façons subtiles dont le discours forme la conscience politique. Ce cours examine aussi : la manière dont Ernesto Laclau relie la rhétorique et et la théorie de l’articulation; le travail de Joseph Nye sur le soft power (« pouvoir de convaincre »); les réflexions de Timothy Borchers sur l’œuvre du rhétoricien Dana Cloud; et les pensées de Robert Ivie sur l’utilité d’équilibrer les notions opposées d’identification et de division.

Ontological Captivity

Departing from where Jacques Derrida’s deconstruction of Martin Heidegger’s gender-neutral Dasein left off, this article argues for “ontological captivity” as a critical analytic for questioning Being under conditions of racial capitalism. Based on a broad understanding of the Black Radical tradition, the author argues for the importance of connecting the analysis of ontological difference with the political critique of concrete historical and material conditions that structurally link what it means to be human to overlapping and mutually reinforcing technologies of capture. From the slave ship, the plantation, the reservation, the prison, the detention center, the penal colony, and the concentration camp to the ways in which injurious signifiers fix the body and arrest its mobility, ontological difference should be unthinkable outside a confrontation with its material conditions of possibility and impossibility. These are the material conditions that, from W. E. B. Du Bois’s analysis of the “color-line” to Calvin Warren’s analytic of “onticide,” from Lewis Gordon’s “antiblackness” to Nelson Maldonado-Torres’s “coloniality of being,” and from Hortense Spillers’s “being for the captor” to Zakiyyah Iman Jackson’s “ontological plasticization,” call for a political rather than an ethical interrogation of Being.

When numbers eclipse narratives: a cultural-political critique of the ‘ethical’ impacts of short-term experiences in global health in Dominican Republic bateyes

With the rising demand for short-term experiences in global health (STEGH) is an ever-increasing volume of literature that focuses attention on ethics and ethical concerns, such as the effects of STEGH on host populations. Such concerns have driven the development of ethical principles and guidelines, with discussions and debates largely centred around normative questions of positive/negative and benefit/harm for us/them. Using a critical medical humanities lens, this paper blurs these dichotomous framings and offers a more complex understanding of the effects and effectiveness of STEGH on hosts. I explore STEGH that send volunteers from North American universities to the Dominican Republic to participate in service-learning activities aimed at improving the lives of impoverished Haitian migrants living in bateyes. I address the following questions: What perspectives about the impacts of interventions on host communities manifest through STEGH? What tensions emerge through interactions among diverse stakeholders related to those perspectives, and with what effects? Drawing together critical theory and ethnography, I examined the perspectives of three stakeholder groups: student and faculty volunteers, host organisation staff, and hosts in batey communities. Data collected from observations and interviews were counterposed; I analysed interactions and interplay between stakeholders. My findings revealed conflicts around an emergent theme: counting efforts, or volunteers’ proclivity for numerical evidence of impactful STEGH for hosts. With attention on power relations, I argue that a preoccupation with quantifiable evidence eclipsed and erased the lived realities of hosts, thereby blocking a fully ethical engagement. These sociopolitical effects, often overlooked in conventional ethics assessments, are no less harmful and may reinforce rather than reduce inequalities that the global health movement seeks to eliminate. My study offers a compelling case for how the critical medical humanities lend critical insights in the name of improving global health.

Between Lines and Beyond Boundaries: Alootook Ipellie’s Entanglements of Space

Manifold representations of the dwelling are expressed in the work of artist, poet, writer, editor, and activist Alootook Ipellie in the bi-monthly publication Inuit Today in the 1970s and 1980s, as a cross-section through key moments in Inuit Nunangat history. This essay thus examines Ipellie’s representations of space—not as an attempt to theorize Inuit space but rather to offer reflections on how these representations challenged ways of knowing and interpreting Arctic communities. We first address the Arctic representation in Ipellie’s work, which emphasizes the existing richness of the land according to Inuit perspectives as opposed to Qallunaat (non-Inuit) interpretations. His drawings also offer political comments on land disputes and the exploitation of territory. We then explore the representation of buildings, as Ipellie witnessed the transition from traditional to government housing. Ipellie’s humour-based approach constituted a strong social and political critique of housing issues and settler-colonial building practices. This artist acknowledged Inuit ingenuity when speaking of traditional housing, thus advocating for Inuit knowledge, invention, and built heritage. Lastly, we discuss the representation of multiple voices in the struggles over space, including Inuit communities and non-human agents, such as animals and land. Dwelling on the notion of “lines” and “the in-between”, we consider the thickness of Ipellie’s drawn lines and attend to the multiple entanglements between the artist’s political cartoons and the many lines of settler-colonialism, such as boundaries, frontiers, roads, pipelines, spatial construction, buildings, and planning.

“MISS RONA IS REALLY CLAPPING THE WHITE SUPREMACISTS”: BLACK TWITTER'S POLITICAL HUMOR IN COVID-19 TIMES

As has been widely reported, the COVID-19 pandemic has disproportionately sickened and killed Black Americans. At the same time, however, there is a significant body of conversation on Black Twitter that jokes about the pandemic. This includes tweets that nickname the pandemic as "Miss Rona,” as in “god i need a drink so bad, miss rona i promise i will be good.” Through an analysis of tweets using the “Miss Rona” nickname, we examine how Black Twitter humor serves as a site of political critique of both public policy failures and the Trump administration more broadly, with users leveraging practices like Signifyin’, African American Vernacular English (AAVE), and wordplay to resist legibility by outsiders as they orient toward their own community. Black humor is political commentary that resonates with the Black community because the tweets address or refer to Black trauma during the pandemic: dealing with continued racial violence, white supremacist ideology, and medical disparities based on race. The tweets are also expressions of Black Twitter catharsis (joy despite pain) through witty one-sided Twitter banters that skillfully and playfully engage with several facets of the social and political climate. We consider how these conversations go beyond laughing to keep from crying to coded political statements and cultural alliance, and argue that Black Twitter’s jokes about the collective trauma of COVID-19 is a resource for online camaraderie, cultural critique, and community affiliation.

Assessing Creditworthiness in the Age of Big Data

The purpose of this article is twofold: first, we show how algorithms have become increasingly central to financial credit scoring; second, we draw on this to further develop the anthropological study of algorithmic governance. As such, we describe the literature on credit scoring and then discuss ethnographic examples from two regulatory and commercial contexts: the US and Denmark. From these empirical cases, we carve out main developments of algorithmic governance in credit scoring and elucidate social and cultural logics behind algorithmic governance tools. Our analytical framework builds on critical algorithm studies and anthropological studies where money and payment infrastructures are viewed as embedded in their specific cultural contexts (Bloch and Parry 1989; Maurer 2015). The comparative analysis shows how algorithmic credit scoring takes different forms hence raising different issues in the two cases. Danish banks seem to have developed a system of intensive, yet hidden credit scoring based on surveillance and harvesting of behavioural data, which, however, due to GDPR takes place in restricted silos. Credit scores are hidden to customers, and therefore there has been virtually no public debate regarding the algorithmic models behind scores. In the US, fewer legal restrictions on data trading combined with both widespread and visible credit scoring has led to the development of a credit data market and widespread use of credit scoring by ‘affiliation’ on the one hand, but also to increasing public and political critique on scoring models on the other.

Who alone can ‘see’? Christian humanitarianism, aspect-perception and political critique

This article offers a critique of Christian humanitarianism in Zambia. But it does so by engaging with the arguments of anthropologists who have begun to question the status of political critique within the discipline. These anthropologists argue that critique often undermines ethnographic understanding because it problematically positions the anthropologist as an actor who is able to ‘uncover’ political realities that remain invisible to others. In this article, I take these concerns seriously and attempt to reconsider the practice of critique by drawing on an ethnographic description of the work of Christian medical missionaries in Zambia. Focusing on how these missionaries encouraged one another to ‘see’ their Zambian patients as ‘Christ-like’ and ‘faithful’ in moments of suffering, I argue that these practices of ‘seeing’ and ‘showing’ resemble certain forms of political critique. Rather than an exercise in ‘uncovering’ hidden realities, critique can also be understood as an act of ‘aspect-showing’ – the aim of which is to encourage others to ‘see’ the same things in a different light. The critique of Christian humanitarianism I offer here is therefore itself an act of aspect-showing that partially resembles that which missionaries themselves engaged in.

Reading Small French Muslim political parties through the lens of Baldwin’s racial innocence

James Baldwin’s concept of racial innocence is, at its core, a tool for examining the process whereby a dominant group subjugates another while prominently, proudly maintaining an egalitarian self-image. Rather than merely point to the existence of such a seemingly untenable paradox, Baldwin uses his concept of racial innocence to interrogate how that paradox persists; how it is consciously and unconsciously maintained. In this paper, racial innocence is used to explain the process whereby Muslim political critique based on lived experiences of discrimination and marginalisation in France is rejected – and, specifically, rejected in a way that supposedly reinforces French norms of liberty, equality, and fraternity.

What Does a Pandemic Sound Like? The Emergence of COVID Verbal Art

In times of social upheaval, people create and engage with verbal art for entertainment and a feeling of connection. While millions of people were forced to stay home to reduce the spread of COVID‑19 from March to July 2020, verbal artists posted recorded performances online and viewers had more time than usual to watch and share them. COVID verbal art refers to songs, poems, and comedy skits that mention social and physical distancing, quarantine and isolation, hygiene and cleaning practices, everyday experiences during the pandemic, as well as social and political critiques of policies and practices that explicitly mention COVID‑19 or coronavirus. An examination of 227 verbal art performances posted on YouTube and TikTok provides an ethnographic record of how everyday life has changed over time during the COVID‑19 pandemic, and how the focus shifted from initial confusion to political critique.