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The Post-Racial Limits of Memorialization: Toward a Political Sense of Mourning attempts to show how post-racial discourse, in general, and post-racial memory, specifically, operates as a context through which the memorialization of anti-black violence and the production of new forms of this violence are connected. Alfred Frankowski argues that aside from being symbolically meaningful, the post-racial context requires that memorialization of anti-black violence in the past produces memory as a type of forgetting. By challenging many of tenants of the critical turn in political philosophy and aesthetics, he argues against a politics of reconciliation and for a political sense of mourning that amplifies the universality of violence embedded in our contemporary sensibility. He argues for a sense of mourning that requires that we deepen our understanding of how remembrance and resistance to oppression remain linked and necessitates a fluid and active reconfiguration relative to the context in which this oppression exists.
This book argues that an active memory of and grief over structural wrongs yields positive agency. Such agency generates rites of moral responsibility that serve as antidotes to violent identities and catalyze hospitable social practices. By comparing Indian and U.S. contexts of caste and race, Sunder John Boopalan proposes that wrongs today are better understood as rituals of humiliation which are socially conditioned practices of domination affected by discriminatory logics of the past. Grief can be redressive by transforming violent identities and hostile in-group/out-group differences when guided by a liberative political theological imagination. This volume facilitates interdisciplinary conversations between theorists and theologians of caste and race, and those interested in understanding the relation between religion and power.
Hip-hop as survivor testimony? Rhymes as critical text? Drawing on her own experiences as a lifelong hip-hop head and philosophy professor, Lissa Skitolsky reveals the existential power of hip-hop to affect our sensibility and understanding of race and anti-black racism. Hip-Hop as Philosophical Text and Testimony: Can I Get a Witness? examines how the exclusion of hip-hop from academic discourse around knowledge, racism, white supremacy, genocide, white nationalism, and trauma reflects the very neoliberal sensibility that hip-hop exposes and opposes. At this critical moment in history, in the midst of a long overdue global reckoning with systemic anti-black racism, Skitolsky shows how it is more important than ever for white people to realize that our failure to see this system—and take hip-hop seriously—has been essential to its reproduction. In this book, she illustrates the unique power of underground hip-hop to interrupt our neoliberal and post-racial sensibility of current events.
In Carnalities, Mariana Ortega presents a phenomenological study of aesthetics grounded in the work of primarily Latinx artists. She introduces the idea of carnal aesthetics informed by carnalities, creative practices shaped by the self’s affective attunement to the material, cultural, historical, communal, and spiritual. For Ortega, carnal aesthetics offers a way to think about the affective and bodily experiences of racialized selves. Drawing on Gloria Anzaldúa, Chela Sandoval, José Esteban Muñoz, Alia Al-Saji, Helen Ngo, Maurice Merleau-Ponty, Roland Barthes, and others, Ortega examines photographic works on Latinx subjects. She analyzes the photography of Laura Aguilar, Verónica Gabriela Cárdenas, and Susan Meiselas, among others, theorizing photography as a carnal, affective medium that is crucial for processes of self-formation, resistance, and mourning in Latinx life. She ends with an intimate reading of photography through a reflection of her own crossing from Nicaragua to the United States in 1979. Motivated by her experience of loss and exile, Ortega argues for the importance of carnal aesthetics in destabilizing and transforming normative, colonial, and decolonial subjects, imaginaries, and structures.
This book presents an intellectual history and theoretical exploration of black humanism since the civil rights era. Humanism is a human-centered approach to life that considers human beings to be responsible for the world and its course of history. Both the heavily theistic climate in the United States as well as the dominance of the Black Church are responsible for black humanism’s existence in virtual oblivion. For those who believe the world to be one without supernatural interventions, human action matters greatly and is the only possible mode for change. Humanists are thus committed to promoting the public good through human effort rather than through faith. Black humanism originates from the lived experiences of African Americans in a white hegemonic society. Viewed from this perspective, black humanist cultural expressions are a continuous push to imagine and make room for alternative life options in a racist society. Alexandra Hartmann counters religion’s hegemonic grasp and uncovers black humanism as a small yet significant tradition in recent African American culture and cultural politics by studying its impact on African American literature and the ensuing anti-racist potentials. The book demonstrates that black humanism regards subjectivity as embodied and is thus a worldview that is characterized by a fragile hope regarding the possibility of progress – racial and otherwise – in the country.
Genocide has become a part of the contemporary global expression of political violence. After all, every continent has had its genocide, but genocide in Africa and the African diaspora is distinctly different from those in Europe or the West. This text approaches genocide from within the context of Africa and the African diaspora to examine political and philosophical after-effects of global colonialism. As genocidal state violence has become prominent through colonialism, its appearance in Europe and the West have developed sharply against how it appears in colonized spaces within the African diaspora. This text argues that such a difference in orientation is needed to develop new concepts, critical approaches, and perspectives on the intersections between colonialism, political violence, and anti-black politics as a way of critically understanding global genocide and the presence of continual genocidal violence.
"Art has not always had the same salience in philosophical discussions of ethics that many other elements of our lives have. There are well-defined areas of "applied ethics" corresponding to nature, business, health care, war, punishment, animals, and more, but there is no recognized research program in "applied ethics of the arts" or "art ethics." Art often seems to belong to its own sphere of value, separate from morality. The first questions we ask about art are usually not about its moral rightness or virtue, but about its beauty or originality. However, it is impossible to do any serious thinking about the arts without engaging in ethical questions"--
This book is concerned with the connection between the formal structure of agency and the formal structure of genocide. The contributors employ philosophical approaches to explore the idea of genocidal violence as a structural element in the world. Do mechanisms or structures in nation-states produce types of national citizens that are more susceptible to genocidal projects? There are powerful arguments within philosophy that in order to be the subjects of our own lives, we must constitute ourselves specifically as national subjects and organize ourselves into nation states. Additionally, there are other genocidal structures of human society that spill beyond historically limited episodes. The chapters in this volume address the significance—moral, ethical, political—of the fact that our very form of agency suggests or requires these structures. The contributors touch on topics including birthright citizenship, contemporary mass incarceration, anti-black racism, and late capitalism. Logics of Genocide will be of interest to scholars and advanced students working in philosophy, critical theory, genocide studies, Holocaust and Jewish studies, history, and anthropology.
Toni Morrison and the New Black examines how Morrison explores the concept of the new black in the context of post-soul, post-black and post-racial discourses. Morrison evolves the new black as symbolic of unprecedented black success in all walks of life, from politics to the media, business and beyond.The author's work shows how the new black reaffirms the possibility of upward mobility and success, and stands as testimony to the American Dream that anyone can achieve material success provided they work hard enough for it.
The Habits of Racism examines some of the complex questions raised by the phenomenon and experience of racism. Helen Ngo draws on the resources of Merleau-Ponty to show how the conceptual reworking of habit as bodily orientation helps to identify the subtle but more fundamental workings of racism--to catch its insidious, gestural expressions, as well as its habitual modes of racialized perception. Racism, as Ngo argues, is equally expressed through bodily habits, which, once reformulated, raises important ethical questions regarding the responsibility for one’s racist habits. Ngo also considers what the lived experience of racism and racialization teaches us about the nature of embodied and socially-situated being, arguing that racialized embodiment problematizes and extends existing accounts of embodied experience, and calls into question dominant philosophical paradigms of the “self” as coherent, fluid, and synchronous. Drawing on thinkers such as Fanon, she argues that the racialized body is “in front of itself” and “uncanny” (in the Heideggerian senses of “strange” and “not-at-home”), while exploring the phenomenological and existential implications of this disorientation and displacement. Finally, she returns to the visual register to take up the question of objectification in the racist gaze, critically examining the subject-object ontology presupposed by Sartre’s account of “the gaze” (le regard). Recalling that all embodied being is always already relational and co-constituting, Ngo draws on Merleau-Ponty’s concept of the intertwining to argue that a phenomenology of racialized embodiment reveals to us the ontological violence of racism—not a merely violation of one’s subjectivity as commonly claimed, but also a violation of one’s intersubjectivity. The original arguments in The Habits of Racism will be of particular value to students and scholars interested in critical philosophy of race, phenomenology, and social and political philosophy, and may also be of interest to those working in feminist philosophy, queer studies, and disability studies.