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Emblematic of change and transgression, the trickster has inappropriately become the methodological tool for conservative cultural studies analysis, Mutha' is Half a Word strives to break that convention.
The ecocide and domination of nature that is the Anthropocene does not represent the actions of all humans, but that of Man, the Western and masculine identified corporate, military, intellectual, and political class that long has masked itself as the civilized and the human. In this book, Jane Caputi looks at two major "myths" of the Earth, one ancient and one contemporary, and uses them to devise a manifesto for the survival of nature--which includes human beings--in our current ecological crisis. These are the myths of Mother Earth and the Anthropocene. The former personifies nature as a figure with the power to give life or death, and one who shares a communal destiny with all other living things. The latter myth sees humans as exceptional for exerting an implicitly sexual domination of Mother Earth through technological achievement, from the plow to synthetic biology and artificial intelligence. Much that we take for granted as inferior or taboo is based in a splitting apart of inherent unities: culture-nature; up-down, male-female; spirit-matter; mind-body; life-death; sacred-profane; reason-madness; human-beast; light-dark. The first is valued and the second reviled. This provides the framework for any number of related injustices--sexual, racial, and ecological. This book resists this pattern, in part, by deliberately putting the dirty back into the mind, the obscene back into the sacred, and vice versa. Ecofeminism and Environmental Justice argue for the significance and reality of the Earth Mother. Caputi engages specifically with the powers of that Mother, ones made taboo and even obscene throughout heteropatriarchal traditions. Jane Caputi rejects misogynist and colonialist stereotypes, and examines the potency of the Earth Mother in order to deepen awareness of how our relationship to the Earth went astray and what might be done to address this. Drawing upon Indigenous and African American, ecofeminism, ecowomanism, green activism, femme, queer and gender non-binary philosophies, literature and arts, Afrofuturism, and popular culture images, Call Your "Mutha" contends that the Anthropocene is not evidence so much of Man's supremacy, but instead a sign that Mother Nature-Earth, faced with disrespect, is turning away, withdrawing the support systems necessary for life and continuance. Caputi looks at contemporary narratives and artwork to consider the ways in which respect for the autonomous and potent Earth Mother and a call for their return has already reasserted itself into our political and popular culture.
How this vulgar slang became a cultural archetype and the subject of Supreme Court rulings....
Sociological literature tends to view the social categories of race, class and gender as distinct and has avoided discussing how multiple intersections inform and contribute to experiences of injustice and inequity. This limited focus is clearly inadequate. Systemic Crises of Global Climate Change is an edited volume of 49 international, interdisciplinary contributions addressing global climate change (GCC) by intentionally engaging with the issues of race, gender, and class through an intersectional lens. The volume challenges and inspires readers to foster new theoretical and practical linkages and think beyond the traditional, and oftentimes reductionist, environmental science frame by examining issues within their turbulent political, cultural, and personal landscapes. Varied media and writing styles invite students and educators to reflexively engage different, yet complementary, approaches to GCC analysis and interpretation, mirroring the disparate voices and viewpoints within the field. The second volume, Emergent Possibilities for Sustainability will take a similar approach but will examine the possibilities for solutions, as in the quest for global sustainability. This book is a valuable resource for academics, researchers and both undergraduate and post-graduate students in the areas of Environmental Studies, Climate Change, Gender Studies and International studies as well as those seeking a more intersectional analysis of GCC.
Laughter in the Archives: Jackie "Moms" Mabley -- I Love You Bitches Back: Spect-Actors and Affective Freedom in I Coulda Been Your Cellmate! -- The Black Queer Citizenship of Wanda Sykes -- Contemporary Truth-Tellers: A New Cohort of Black Feminist Comics -- Conclusion.
The 1970s was a golden age for representations of African American life on TV sitcoms: Sanford & Son, Good Times, The Jeffersons. Surprisingly, nearly all the decade’s notable Black sitcoms were made by a single company, Tandem Productions. Founded by two white men, the successful team behind All in the Family, writer Norman Lear and director Bud Yorkin, Tandem gave unprecedented opportunities to Black actors, writers, and producers to break into the television industry. However, these Black auteurs also struggled to get the economic privileges and creative autonomy regularly granted to their white counterparts. Scratchin’ and Survivin’ discovers surprising parallels between the behind-the-scenes drama at Tandem and the plotlines that aired on their sitcoms, as both real and fictional African Americans devised various strategies for getting their fair share out of systems prone to exploiting their labor. The media scholar Adrien Sebro describes these tactics as a form of “hustle economics,” and he pays special attention to the ways that Black women—including actresses like LaWanda Page, Isabel Sanford, and Esther Rolle—had to hustle for recognition. Exploring Tandem’s complex legacy, including its hit racially mixed sitcom Diff’rent Strokes, he showcases the Black talent whose creative agency and labor resilience helped to transform the television industry.
Both significant and timely, Blackhood Against the Police Power addresses the punishment of “race” and the disavowal of sexual violence central to the contemporary “post-racial” culture of politics. Here the author asserts that the post-racial presents an antiblack animus that should be read as desiring the end of blackness and the black liberation movement’s singular ethical claims. The book redefines policing as a sociohistorical process of implementing antiblackness and, in so doing, redefines racism as an act of sexual violence that produces the punishment of race. It smartly critiques the way leading antiracist discourse is frequently complicit with antiblackness and recalls the original 1960s conception of black studies as a corrective to the deficiencies in today’s critical discourse on race and sex. The book explores these lines of inquiry to pinpoint how the history of racial slavery wraps itself in a new discourse of disavowal. In this way, Blackhood Against the Police Power responds to a range of texts, policies, practices, and representations complicit with the police power—from the Fourth Amendment and the movements to curtail stop-and-frisk policing and mass incarceration to popular culture treatments of blackness to the leading academic discourses on race and sex politics.
An extended study of the writings of Lil' Kim, the multi-platinum selling Hip Hop artist. Examines Lil' Kim's anti-sexist, gender-defiant and ultra-erotic verse alongside issues of race and the politics of imprisonment. This is the first study to apply the tools of literary criticism to Hip Hop's lyrical writings.
Winner of the Modern Language Association (MLA)’s William Sanders Scarborough Prize From Audre Lorde, Ntozake Shange, and Bessie Head, to Zanele Muholi, Suzan-Lori Parks, and Missy Elliott, Black women writers and artists across the African Diaspora have developed nuanced and complex creative forms. Mecca Jamilah Sullivan ventures into the unexplored spaces of black women’s queer creative theorizing to learn its languages and read the textures of its forms. Moving beyond fixed notions, Sullivan points to a space of queer imagination where black women invent new languages, spaces, and genres to speak the many names of difference. Black women’s literary cultures have long theorized the complexities surrounding nation and class, the indeterminacy of gender and race, and the multiple meanings of sexuality. Yet their ideas and work remain obscure in the face of indifference from Western scholarship. Innovative and timely, The Poetics of Difference illuminates understudied queer contours of black women’s writing.
A complex articulation of the ways blackness and nonnormative gender intersect—and a deeper understanding of how subjectivities are formed A deep meditation on and expansion of the figure of the Negro and insurrectionary effects of the “X” as theorized by Nahum Chandler, The Problem of the Negro as a Problem for Gender thinks through the problematizing effects of blackness as, too, a problematizing of gender. Through the paraontological, the between, and the figure of the “X” (with its explicit contemporary link to nonbinary and trans genders) Marquis Bey presents a meditation on black feminism and gender nonnormativity. Chandler’s text serves as both an argumentative tool for rendering the “radical alternative” in and as blackness as well as demonstrating the necessarily trans/gendered valences of that radical alternative. Forerunners is a thought-in-process series of breakthrough digital works. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.