Race and Blackness in Premodern Arabic Literature

The signal works of poetry that prominently feature racialized Blackness in early Arabic literature (c. ad 500–1250) include works composed by authors of Afro-Arab heritage as well as by Arab authors who satirized and panegyrized Black subjects. These poets include the pre-Islamic author ʿAntarah ibn Shaddād and the ʿAbbasid-era figures al-Mutanabbī and Ibn al-Rūmī, and thus reflect the shift, across an extensive timeline, from a local, Bedouin poetics to a self-styled cosmopolitan, courtly aesthetic characterized as muḥdath, or modernist. The works are situated not only within the changing conventions of genre, but also within an arc that traces the emergence of new race concepts and racialized social institutions in the transition from the pre-Islamic era to Islam and from the early conquests to ʿAbbasid imperialization. Critical instances of these works’ intertextual movements demonstrate how racial logic accretes in various Arab-Muslim textual traditions, showing how poetry intersects with popular epic as well as high literary geographical, ethnological, and commentarial corpuses. As verse moves across a myriad of later literary forms, its context-specific representations of racial difference are recontextualized and received in ways that contribute to a broader transregional and transtemporal discourse of racialized Blackness.

Baudelaire's Creole Gothic : A Postcolonial Afterlife for Les Fleurs du mal

Baudelaire’s verse poetry is informed by a pervasive Creole Gothic resonance. Two separate but related topoi, the Undead and the Living Dead, lie at the heart of the collection’s necrological imaginary of slave and zombie labour. It is this Gothic double-trope of death-in-life/life-in-death that activates the Gothic Creole strain running through Les Fleurs du mal. Ironically, those poems that seem to evoke most directly the Creole world that Baudelaire encountered in 1841, firstly in Mauritius and then in Réunion, avoid all evocation of plantation slavery. Conversely, the city poems associate modern metropolitan life with the idea of slavery, representing it as a living death and death as a merely temporary and reversible escape. The collection’s representation of this ‘living death’ foreshadows the construction (by Orlando Patterson, most notably) of transatlantic chattel slavery as ‘social death’. As for the poetic representation of the ‘Undead’, this centres on the figure of the zombie. The zombie is essentially a slave for whom death has proved no guarantee against an endless ‘living death’ of hard labour. If the Creole inflection of Baudelaire’s imagery relates primarily to the realities of industrialized plantation labour and to the chattel slavery on which it was based, it is further reinforced by indices of tropical localisation and of racial difference, more specifically pigmentation. However subliminal its resonance, this Creole Gothic strain guarantees for Baudelaire’s Fleurs du mal a vivid postcolonial afterlife.

1. Human nature

‘Human nature’ looks at the theory of human nature developed by Hume in Books One and Two of A Treatise of Human Nature. In these books, Hume’s theory of nature is presented as an account of the faculty of understanding, of the passions, and of the relation between them. The biographical context for this theory of human nature is important here, in terms of the intellectual crisis that Hume went through in the early 1730s. Key influences on Hume’s theory of human nature included Pierre Bayle, Bernard Mandeville, and John Locke. Hume reformulated his theory of human nature in his later works. There are limitations of the theory as can be revealed in remarks made by Hume about racial difference.

Assessing Local “Diversity”: A Nationally Representative Analysis

The meanings and definition of “diversity” can change across different applications and contexts, but many such meanings have implications for racial difference and racial ideology in the United States. We provide a nationally representative analysis of how everyday Americans assess “diversity” in their own communities. We test how county-level racial, religious, economic, and political heterogeneity predict the view that one lives in a highly diverse locale; we also test how individual-level factors predict such a view. Among the four indicators of local difference, racial difference is most strongly and consistently associated with Americans’ assessments of local diversity. Individual-level factors do not weaken this relationship; rather, local context and individual-level factors conjointly predict assessments of local diversity. Despite the flexible, hyperinclusive nature of diversity discourse, local racial difference is salient in Americans’ assessments of “diversity” in their communities, and this pattern is not simply a product of individual-level factors. Our findings illustrate another dimension of the flexible-yet-racialized nature of diversity discourse in the United States. We also show that Americans are particularly aware of racial difference in their locale, which has implications for social and ideological responses to changing communities and a changing nation.

Attempting to disrupt racial division in social work classrooms through small-group activities

The notion of racial difference and racial segregation has continued to be problematic in higher education studies. Students belonging to Ethnic Minority groups often feel segregated even in courses and classrooms that promote anti-discriminatory and anti-racist practices. This paper presents a study that investigated seventy-five students from the BA and MA student cohorts within a London-based university. Students were encouraged to integrate and interrogate matters of race and belonging during a seminar on protected characteristics designed to disrupt racial division. Qualitative surveys were conducted to understand participants' views about racial disruption and experiences after the activities. Findings revealed ongoing segregation after the activity in and out of the classroom, fear of approaching racialised spaces, the need for additional brave reflective spaces that disrupt racial segregation and foster better understanding about race. The paper concludes by stressing the significance and value of racially disruptive teaching activities and racial assimilation in social work programmes as a means of tackling racial bias, segregation and decolonisation.

“The Hall Does Not Make the Space”: Disrupting Concert Hall Norms in Hannibal's One Land, One River, One People

Hannibal's cheering and shouting along with his request for audience participation during the 2015 premiere of his composition One Land, One River, One People caused a stir and created discomfort among the Philadelphia Orchestra audience. I interpret his work as an example of a successful musical direct action within contemporary orchestral music. By exposing and subverting the traditions of the classical concert experience, One Land, One River, One People highlights social boundaries within the genre of classical music itself. I apply Robin James's (2015) concept of Multiracial White Supremacy, or MRWaSP, to contemporary orchestral classical music of the United States. Under late capitalism, MRWaSP helps to explain the potential appeal to an orchestra of commissioning Hannibal, who is known as a “genre-crossing” composer rooted in classical and jazz. Yet I argue that the way in which Hannibal performs his identity along with the piece's inclusion of audience participation allow the music to resist functioning as expected under MRWaSP. Rather than promoting a sense that—as one might expect from the title—we are all “one people,” I see the piece as revealing racial difference and as speaking truth to power.

The limits of transactional identity: Whiteness and embodiment in digital facial replacement

Focusing on a series of YouTube creators, this essay interrogates the persistence of the hegemonic power of the white male hardbody, arguing that digital facial replacements – in particular those of 1980s action stars – produce a mode of white, masculine identity that is essentially exchangeable and transactional. These bodies are capitalist commodities, fundamentally interchangable and asserting the same bundle of ideological traits. The technology of digital facial replacement allows creators to visualize this exchange value. As opposed to the pornographic, invasive, and misogynistic face swap videos originally posted on reddit.com by user ‘deepfakes’ in 2017, the facial replacement videos found on YouTube are more playful in nature, imagining alternate histories and using face swapping as a mode of comedy. This case study of 1980s action stars opens up to a broader examination of issues of identity in digital facial replacement. In the videos under analysis, gender swaps are relatively common, but ethnic swaps are scarce. The reluctance of the YouTubers to ‘blindcast’ their revisionist videos reveals a subtle critique of the fantasy of a post-racial world. Racial difference – and, perhaps, cultural specificity – remains intact, and the creators take a seemingly apolitical, comical, ‘safe’ approach to identity rather than an explicitly critical stance. By denuding the more threatening and destructive aspects of deepfakes, these YouTube videos produce a more palatable version of facial replacement. This version, however, is no less ideologically complex than its more explicitly political and misogynistic counterparts. These contemporary facial substitutions not only continue to ‘reboot’ white male hegemony, but they also function as an ideological reclamation of masculine power in the present through modified images of the (revisionist) past.