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Cedric J. Robinson offers a new understanding of race in America through his analysis of theater and film of the early twentieth century. He argues that economic, political, and cultural forces present in the eras of silent film and the early "talkies" firmly entrenched limited representations of African Americans. Robinson grounds his study in contexts that illuminate the parallel growth of racial beliefs and capitalism, beginning with Shakespearean England and the development of international trade. He demonstrates how the needs of American commerce determined the construction of successive racial regimes that were publicized in the theater and in motion pictures, particularly through plantation and jungle films. In addition to providing new depth and complexity to the history of black representation, Robinson examines black resistance to these practices. Whereas D. W. Griffith appropriated black minstrelsy and romanticized a national myth of origins, Robinson argues that Oscar Micheaux transcended uplift films to create explicitly political critiques of the American national myth. Robinson's analysis marks a new way of approaching the intellectual, political, and media racism present in the beginnings of American narrative cinema.
Do we live in basically orderly societies that occasionally erupt into violent conflict, or do we fail to perceive the constancy of violence and disorder in our societies? In this classic book, originally published in 1980, Cedric J. Robinson contends that our perception of political order is an illusion, maintained in part by Western political and social theorists who depend on the idea of leadership as a basis for describing and prescribing social order. Using a variety of critical approaches in his analysis, Robinson synthesizes elements of psychoanalysis, structuralism, Marxism, classical and neoclassical political philosophy, and cultural anthropology in order to argue that Western thought on leadership is mythological rather than rational. He then presents examples of historically developed "stateless" societies with social organizations that suggest conceptual alternatives to the ways political order has been conceived in the West. Examining Western thought from the vantage point of a people only marginally integrated into Western institutions and intellectual traditions, Robinson's perspective radically critiques fundamental ideas of leadership and order.
Recent Forgeries documents Viggo's first solo exhibition as a painter. It is an extraordinary look into the mind of an artist whose boundless creative output touches a myriad of media, from photography to painting to poetry to acting. A minute gesture, an accidental encounter, a change of light-Mortensen uses his art to capture the simple moments of his life, to give them meaning, to satisfy his curiosity, and to express his wonder at the "suchness" of people and things in the passing world. The writings, paintings, collages, and photographs (color as well as black and white) in this book point to the fluidity of meaning in a world of flux. Illustrated within this publication are some of the painting Viggo did for the movie A Perfect Murder. Recent Forgeries includes a CD with music and spoken-word poetry. Introduction by Dennis Hopper.
Cedric J. Robinson offers a new understanding of race in America through his analysis of theater and film of the early twentieth century. He argues that economic, political, and cultural forces present in the eras of silent film and the early "talkies" fi
An in-depth exploration of documentary forgery at the turn of the first millennium Forgery and Memory at the End of the First Millennium takes a fresh look at documentary forgery and historical memory in the Middle Ages. In the tenth and eleventh centuries, religious houses across Europe began falsifying texts to improve local documentary records on an unprecedented scale. As Levi Roach illustrates, the resulting wave of forgery signaled major shifts in society and political culture, shifts which would lay the foundations for the European ancien régime. Spanning documentary traditions across France, England, Germany and northern Italy, Roach examines five sets of falsified texts to demonstrate how forged records produced in this period gave voice to new collective identities within and beyond the Church. Above all, he indicates how this fad for falsification points to new attitudes toward past and present—a developing fascination with the signs of antiquity. These conclusions revise traditional master narratives about the development of antiquarianism in the modern era, showing that medieval forgers were every bit as sophisticated as their Renaissance successors. Medieval forgers were simply interested in different subjects—the history of the Church and their local realms, rather than the literary world of classical antiquity. A comparative history of falsified records at a crucial turning point in the Middle Ages, Forgery and Memory at the End of the First Millennium offers valuable insights into how institutions and individuals rewrote and reimagined the past.
In this ambitious work, first published in 1983, Cedric Robinson demonstrates that efforts to understand Black people’s history of resistance solely through the prism of Marxist theory are incomplete and inaccurate. Marxist analyses tend to presuppose European models of history and experience that downplay the significance of Black people and Black communities as agents of change and resistance. Black radicalism, Robinson argues, must be linked to the traditions of Africa and the unique experiences of Blacks on Western continents, and any analyses of African American history need to acknowledge this. To illustrate his argument, Robinson traces the emergence of Marxist ideology in Europe, the resistance by Blacks in historically oppressive environments, and the influence of both of these traditions on such important twentieth-century Black radical thinkers as W. E. B. Du Bois, C. L. R. James, and Richard Wright. This revised and updated third edition includes a new preface by Tiffany Willoughby-Herard, and a new foreword by Robin D. G. Kelley.
In the early 1890s, black performer Bob Cole turned blackface minstrelsy on its head with his nationally recognized whiteface creation, a character he called Willie Wayside. Just over a century later, hiphop star Busta Rhymes performed a whiteface superco
'A towering achievement. There is simply nothing like it in the history of Black radical thought' Cornel West 'Cedric Robinson's brilliant analyses revealed new ways of thinking and acting' Angela Davis 'This work is about our people's struggle, the historical Black struggle' Any struggle must be fought on a people's own terms, argues Cedric Robinson's landmark account of Black radicalism. Marxism is a western construction, and therefore inadequate to describe the significance of Black communities as agents of change against 'racial capitalism'. Tracing the emergence of European radicalism, the history of Black African resistance and the influence of these on such key thinkers as W. E. B. Du Bois, C. L. R. James and Richard Wright, Black Marxism reclaims the story of a movement.
Credulity -- Reference by artifact -- Germany and "Renaissance"--Forgery -- Replica -- Fiction -- Re-enactment.
A Sourcebook on African-American Performance is the first volume to consider African-American performance between and beyond the Black Arts Movement of the 1960s and the New Black Renaissance of the 1990s. As with all titles in the Worlds of Performance series, the Sourcebook consists of classic texts as well as newly commissioned pieces by notable scholars, writers and performers. It includes the plays 'Sally's Rape' by Robbie McCauley and 'The American Play' by Suzan-Lori Parks, and comes complete with a substantial, historical introduction by Annemarie Bean. Articles, essays, manifestos and interviews included cover topics such as: * theatre on the professional, revolutionary and college stages * concert dance * community activism * step shows * performance art. Contributors include Annemarie Bean, Ed Bullins, Barbara Lewis, John O'Neal, Glenda Dickersun, James V. Hatch, Warren Budine Jr. and Eugene Nesmith.