ABSTRACT A comparative analysis of Zora Neale Hurston's Their Eyes Were Watching God and Flora Nwapa's Efuru suggests the importance of romantic love to the self- actualization of the heroines of these novels, whose authors share similar biographies, concerns, and literary positions in the spheres of African American and African literatures respectively. For Hurston, eros paradoxically represents the ultimately unfulfilled possibility for self-realization that finally may be achieved only in and through the self. By contrast, for Nwapa, the (...) focus shifts from the centrality of romantic love to the complex and contradictory place of childbearing in female self-realization. However, finally, self-actualization is achieved with other women in identification with Mammywater, the powerful Igbo lake goddess. (shrink)

ABSTRACT Zora Neale Hurston's Barracoon teaches us distinct lessons about African American literary studies and its relation to the memory of Africa. In this text, Kossula helps us better understand a transatlantic black identity, the tension that exist between those who remember Africa and those who have adopted a black American identity, and the failures of supposed victories and African emigration. This traversing also reminds us that there can be no agreed upon or stable method for charting literary (...) history. Instead, it encourages us to follow a model of historiography that looks for continuity and is more cross-directional than vertical. The archive, of course, requires such a model. Thus, Barracoon's publication, as an archival artifact especially, is also instructive as evidence of the primacy of the archive in relation to canon formation and literary traditions. (shrink)

This article involves a close reading of two African American authors, Zora Neale Hurston, an acclaimed novelist and Katie Cannon, an influential theological ethicist. Texts from Steve Biko on black consciousness and from James Cone on liberation theology are used as methodological tools in trying to ascertain the degree to which Hurston and Cannon espouse a black consciousness. A strong resonance of black consciousness will indeed be found in Hurston’s and Cannon’s texts. The conclusion drawn is that not (...) only is there a resonance of black consciousness, but both writers also give proof of a black womanist consciousness that reveals new knowledge. Cannon’s oeuvre also begs the question of epistemological privilege. In addition, an animated critique is registered between these women scholars and male colleagues, in the world of fiction and academia.Contribution: This article demonstrates a link from South African black consciousness to black womanist thinkers in the United States. A connection is also made between male, black liberation theology and black womanist thinking, while expounding the womanist approach, liberated from male dominance, on par with all others. (shrink)

In preparing to write this paper, I found myself repeatedly stopped by conflicting conceptions of the structure of address into which I was inserting myself. It was not clear to me what I, as a white deconstructor, was doing talking about Zora Neale Hurston, a black novelist and anthropologist, or to whom I was talking. Was I trying to convince white establishment scholars who long for a return to Renaissance ideals that the study of the Harlem Renaissance is (...) not a trivialization of their humanistic pursuits? Was I trying to contribute to the attempt to adapt the textual strategies of literary theory to the analysis of Afro-American literature? Was I trying to rethink my own previous work and the re-referentialize the notion of difference so as to move the conceptual operations of deconstruction out of the realm of abstract linguistic universality? Was I talking to white critics, black critics, or myself?Well, all of the above. What finally struck me was the fact that what I was analyzing in Hurston’s writings was precisely, again and again, her strategies and structures of problematic address. It was as though I were asking her for answers to questions I did not even know I was unable to formulate. I had a lot to learn, then, from Hurston’s way of dealing with multiple agendas and heterogeneous implied readers. I will focus here on three texts that play interesting variations on questions of identity and address: two short essays, “How It Feels to Be Colored Me” and “What White Publishers Won’t Print,” and a book-length collection of folktales, songs, and hoodoo practices entitles Mules and Men. Barbara Johnson is professor of French and comparative literature at Harvard University. She is the author of Défigurations du langage poétique and The Critical Difference, translator of Jacques Derrida’s Dissemination, and editor of The Pedagogical Imperative: Teaching as a Literary Genre. Her previous contribution to Critical Inquiry, “Rigorous Unreliability,” appeared in the December 1984 issue. (shrink)

In What We Say, Who We Are, Parker English explores the commonality between Leopold Senghor's concept of "negritude" and Zora Neale Hurston's view of "Negro expression." For English, these two concepts emphasize that a person's view of herself is above all dictated by the way in which she talks about herself. Focusing on "performism," English discusses the presentational/representational and externalistic/internalistic facets of this concept and how they relate to the ideas of Senghor and Hurston.

In the Politics of Black Joy, Lindsey Stewart develops Hurston's contributions to political theory and philosophy of race by introducing the politics of joy as a refusal of neoabolitionism, a political tradition that reduces southern Black life to tragedy or social death.

ABSTRACT Love centers Zora Neale Hurston's art and her life. Her most celebrated novel, Their Eyes Were Watching God, and her sharply criticized autobiography, Dust Tracks on A Road, explore the beauty and difficulties of love for women in the early twentieth century. Janie in Their Eyes was forced to choose between love and freedom to be herself. For Hurston, passionate love for one man competed with her deep desire for a career as a writer and playwright. In (...) all instances, self-fulfillment won out over love. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Tale of Three Zoras:Barbara Johnson and Black Women WritersHortense J. Spillers (bio)Talking about Zora Neale Hurston is like approaching the Sphinx—so much riddle, so many faces, and all of it occurring on fairly high holy ground since Alice Walker's remarkable discovery a couple of decades ago.1 But Barbara Johnson's criticism cracks the code on Her Majesty and brings the sign vehicle—"Zora Neale Hurston"—to the (...) table of juxtapositions and comparisons. There is the iconic Hurston, whose positioning between the Harlem Renaissance2 and the post-World War II writers gives her a priority of status that marks the woman artist's entry into literary modernism. The latter, in its variety of contexts and alignments, opened the way to certain experimental forms for these writers and might not have been completed as a systematic gesture before the late sixties and early seventies, when this generation of practitioners was free to create antiheroic figures and to probe the limits of representability. In short, with Zora Neale Hurston a window is pried open, a breeze blows through, and by the time of Toni Morrison's Beloved, an opening has become a prospect, a landscape of vistas of possibility. We can think of Hurston, then, as an enabler, who was not particularly encouraged by the literary politics of her age, from first to last; whether by the "maledom" of Harlem Renaissance avenues to reward and achievement, or by the paradigm shift of race politics in the 1950s,3 Hurston seems to have been equipped with the uncanny ability to create a kind of chaos, to behave outside the parameters of fashion, and to create dimensions of the mythical about her as she modeled versions of self.In her role as classically trained anthropologist and folklorist, Hurston is considered today one of the major theoreticians of black culture.4 Her collections of lore, a [End Page 94] motherlode of a southern-centered orality,5 of the countryside, are fruitfully poised against the displaced metaphysical traditions of discourse that we especially associate with figures like Alain Locke and W. E. B. DuBois.6 As it now appears, the oppositional currents that run between the Hurstonian and the DuBoisian figurations have yet to be reconciled: the latter is text-based, and the former exceeds the abiding centrality of the word. Barbara Johnson argues in A World of Difference that Hurston "tried to explain the difference between a reified 'art' and a living culture in which distinctions between spectator and spectacle, rehearsal and performance, experience and representation are not fixed" [159]. For Hurston, folklore was "'the arts of the people before they find out that there is such a thing as art.'" For Hurston, unlike DuBois, for example, black culture was not a project in the modality of Bildung, or the Hegelian notion, but, rather, a repertoire of gestures that might be said to belong to a second skin—the kinetic thing that is done or said.From our current perspective, what Hurston called "folklore" and what offered the occasion for the ethnographic foray might be given other names, though renaming these acts and gestures of the everyday does not make it any easier to reconcile the conceptual split in black culture theory between textuality and orality, or between "urban" and "countryside." But all of these locutions have been essentially eviscerated by radical changes in the availability and transmission of consumer goods that have rendered US local and indigenous cultures virtually indistinguishable from Jackson, Mississippi to Boston, Massachusetts. Take any interstate network across the land, east to west, or north to south: between McDonald's and the food/gas mart, scattered along ten- to twenty-mile sequences of roadway, one is quite astonished at the sameness and homogeneity of motifs that have translated particularity into an item of commerce and exchange. At one time, the critics were calling this outcome the postmodern flow, but my own hunch is that this apparent repetition and replication of the same are riddled with a variety of timbres and accents, still, that the Hurston ear was so sharp to articulate and define six decades ago. And in that intricate choreography between the life... (shrink)

ABSTRACT This discussion considers a literary genealogy that examines Zora Neale Hurston as a predecessor to Joseph Beam and Essex Hemphill, prefiguring their need for a process through which multiply-marginalized communities might create images that more accurately reflect their existence, and considers contemporary poets Danez Smith and Timothy DuWhite as inhabitants of the legacy that they left behind. Focusing primarily on how these artists invoke—and often revise and subvert—the biblical creation narrative within their own narratives of self-creation and (...) image- making, this discussion is also concerned with these writers' articulation of love that is deemed unnatural due to its defiance of heteropatriarchal and cultural norms. These works, when read alongside and in dialogue with one another, collectively assert that love, defined as natural and divinely approved, functions as a challenge to restrictive ideologies and a tool of affirmation for themselves and their communities. (shrink)

What forms, then, does curiosity take? And what are the curiosity formations of our time? Of our universities? Of our disciplines? Of our material lives beyond the discursive? Where one asks these questions—and who it is that asks—matters. Drawing on Virginia Woolf, Zora Neale Hurston, and Michel Foucault, I chart out the grammar of curiosity formations in and beyond the university.

Both Zora Neale Hurston's "Seraph on the Suwanee" (1948) and Carolyn Chute's "The Beans of Egypt, Maine" (1985) feature white working-class women negotiating class hierarchies in rural communities. Despite contemporary critics' putative concern with class and demonstrated concern with Hurston's other works, particularly "Their Eyes Were Watching God" (1937), both novels have been largely ignored by the critical establishment, in part because readers find it difficult to identify with the main characters. Comparing the critical reception of Seraph, The (...) Beans, and Their Eyes reveals the mechanism by which readers identify with imaginary characters is constituted by middle-class reading practices. While a sympathetic audience emerged for Their Eyes, one is not likely to appear for the other two novels, which expose the class-bound roots of the literary construction of identity, meaning and reality. In addition, Seraph and The Beans point, however obliquely, toward a vernacular notion of home that resists middle-class commodification. (shrink)

Attempts to understand recent changes in the canon of American literature through the aid of psychoanalytic theory.

The Heart of What Matters shows that literature has a powerful and unique role to play in understanding life's deepest ethical problems. Anthony Cunningham provides a rigorous critique of Kantian ethics, which has enjoyed a preeminent place in moral philosophy in the United States, arguing that it does not do justice to the reality of our lives. He demonstrates how fine literature can play an important role in honing our capacity to see clearly and choose wisely as he develops a (...) moral philosophy that engages with our intimate emotional concerns. Written in an accessible style and drawing from a provocative body of contemporary literature, this book shows how moral philosophy can reach a far wider audience than it has. -/- In part one of this book, Cunningham sketches out the theoretical basis for a redefined conception of moral philosophy. In part two, he engages in extended analyses of novels that address significant life and character issues, specifically Kazuo Ishiguro's The Remains of the Day, Toni Morrison's Beloved, and Zora Neale Hurston's Their Eyes Were Watching God and Seraph on the Suwanee. Cunningham shows exactly how works like these can inform moral philosophy. Drawing from film, history, psychology, and other social sciences in addition to literature, this book adds to the growing number of works that use literature for ethical analysis and to the growing controversy over Kantian ethics. (shrink)

Walker's essays and articles written between 1966 and 1982 discuss the concept and influence of art and the artist's life, criticisms of authors such as Jean Toomer and Zora Neale Hurston, studies in the civil rights movement and feminist movement, and her own ideas while writing her book "The Color Purple.".

ABSTRACT The law, serving as a codification of the commitments and values of “White space,” often treats love and justice as separable and separate values, experiences, and institutions. Black love, on the contrary, is bound up with and, even, identified with justice. This inextricability is painted masterfully in the interstices of Zora Neale Hurston's, Their Eyes Were Watching God. The story, widely framed as a woman's journey to autonomy and love, is just as much the story of her (...) search for justice. This article uses Hurston's narrative of love and justice, Paulo Freire's critical pedagogy of humanization, and law to illustrate the implications of Black love for engaging legal justice in White space. It concludes that liberation for Black people demands humanizing legal praxis. (shrink)

In this collection of her provocative essays on Third World art and culture, award-winning filmmaker and theorist Trinh Minh-ha offers new challenges to Western regimes of knowledge. Bringing to her subjects an acute sense of the many meanings of the marginal, Trinh examines Asian and African texts, the theories of Barthes, questions of spectatorship, the enigmas of art, and the perils of anthropology. In one essay, taking off from ideas raised earlier by Zora Neale Hurston, Trinh considers with (...) astonishment the search by Western "experts" for the hidden values of a person or culture, a process of legitimized voyeurism that, she argues, ultimately equates psychological conflicts with depth , while inner experience is reduced to mere personal feeling. When the Moon Waxes Red is an extended argument against reductive analyses, even those that appear politically adroit. Feminist struggle is heterogeneous. The multiply-hyphenated peoples of color are not simply placed in a duality between two cultural heritages; throughout, Trinh describes the predicament of having to live "a difference that has no name and too many names already." She argues for multicultural revision of knowledge so that a new politics can transform reality rather than merely ideologize it. By rewriting the always emerging, already distorted place of struggle, such work seeks to "beat the master at his own game.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Style: A Queer Cosmology by S. Taylor BlackJoe Edward HatfieldStyle: A Queer Cosmology. By Taylor Black. New York: New York University Press, 2023. 304 pp. Hardcover $99.00, paper $35.00. ISBN- 10: 147982500X.Style is a perennial concern within rhetorical studies. As one of Aristotle's five canons, style has inspired a great deal of rhetorical theory over the past two millennia and counting. Hence, it would be reasonable to presume (...) that there is not much, if anything, else original to contribute to the well-trodden domain of the stylistic. However, Taylor Black's Style: A Queer Cosmology challenges this assumption by offering a fresh take on its titular concept. The book's grounding in the interdisciplinary field of American Studies allows its author to speak to multiple audiences at once, including those invested in queer theory, race and ethnicity, popular culture, new materialism, and literary criticism. To this inventory, I would add anyone interested in the art of rhetoric, particularly those committed to incorporating new, diverse perspectives into the field's existing analytical tool chest. Tonally whimsical but nonetheless boldly argued, Style dramatically reframes a timeworn concept in the rhetorical lexicon that many of us have likely—and mistakenly—come to take for granted.Readers of this journal will be immediately seduced by Black's provocative rethinking of style as elemental. Here, the term "elemental" directs attention toward style as "the rudimentary source of difference that distinguishes one thing from another, something perhaps, more closely aligned with myth than fact: an immaterial force or energy, perhaps supernatural in essence, that imbues everything under the sun" (5). As Black infers throughout the book's introduction, style is the expression of difference available to all human and nonhuman beings. More than aesthetic ornamentation, or the mere ability to make oneself appear outwardly beautiful, style is a mysterious yet universal condition of possibility underlying the cultivation [End Page 226] of a personality. Style names the intertwined processes of self-fashioning and self-discovery that produce individuation as its outcome. And though everyone "has" a style, Black asserts, "not everyone is a stylist" (15). Black posits the figure of the stylist to denote a minoritarian subject who transmutes the experience of oppression into a purposeful performance of self. Upon realizing their exclusion from a majoritarian social order organized by deeply embedded attachments to a hierarchy of difference that discriminates on bases of race, gender, sexuality, class, and other intersecting codes of identification, stylists turn their failure to conform into an opportunity for opening possibilities for alternative futures.In other words, from the limitations that accompany experiences of structural oppression, style authorizes potential. Referencing Zora Neale Hurston's 1928 essay "How It Feels to Be Colored Me," Black suggests stylists tend to dwell in cosmology, a form of storytelling or narrative fabulation about the universe's origins and one's place in its ongoing unfolding. "Stylists," Black poetically avers, are "naturally drawn to understanding the universe better by virtue of developing a more and more acute consciousness of who and what they are and how they came to be" (20). Black highlights style's fundamental elementality as emerging from cosmic renderings of marginalized experience and the pursuit of a future otherwise. To further illustrate this elemental notion of the stylistic, Black assembles an eclectic corpus of texts by those he calls "subterranean American stylists" (5), namely Quentin Crisp, Bob Dylan, Toni Morrison, Flannery O'Connor, and Edgar Allan Poe, among others, whose lives and work he examines over seven chapters divided into three main parts. Each chapter supplies unique insights on the elementals of style, as well as its subject matter, thus allowing Black to support the thesis constructed in the introduction without ever seeming overly redundant.The first part of Style, "The Mystery of Personality: Queerness as Style," consists of a preface and two chapters oriented around the specific ways stylizations of queer selfhood may function as a survival strategy and, relatedly, a means for exploring elemental mysteries of personality and being. In the initial chapter, Black analyzes texts authored by openly gay memoirist and cultural commentor Quentin Crisp, who became famous for his humorous and often brash... (shrink)

During the nineteenth and early twentieth centuries, a wide variety of American writers proposed the existence of energies connecting human beings to cosmic processes. From varying points of view--scientific, philosophical, religious, and literary--they suggested that such energies would eventually result in the perfection of individual and collective bodies, assuming that assimilation into larger networks of being meant the expansion of humanity's powers and potentialities--a belief that continues to inform much posthumanist theory today. Universes without Us explores a lesser-known countertradition in (...) American literature. As Matthew A. Taylor's incisive readings reveal, the heterodox cosmologies of Edgar Allan Poe, Henry Adams, Charles Chesnutt, and Zora Neale Hurston reject the anthropocentric fantasy that sees the universe as a kind of reservoir of self-realization. For these authors, the world can be made neither "other" nor "mirror." Instead, humans are enmeshed with "alien" processes that are both constitutive and destructive of "us." By envisioning universes no longer our own, these cosmologies picture a form of interconnectedness that denies any human ability to master it. Universes without Us demonstrates how the questions, possibilities, and dangers raised by the posthuman appeared nearly two centuries ago. Taylor finds in these works an untimely engagement with posthumanism, particularly in their imagining of universes in which humans are only one category of heterogeneous thing in a vast array of species, objects, and forces. He shows how posthumanist theory can illuminate American literary texts and how those texts might, in turn, prompt a reassessment of posthumanist theory. By understanding the posthuman as a materialist cosmology rather than a technological innovation, Taylor extends the range of thinkers who can be included in contemporary conversations about the posthuman. (shrink)

It is thrilling to think – to know that for any act of mine, I shall get twice as much praise or twice as much blame. It is quite exciting to hold the center of the national stage, with the spectators not knowing whether to laugh or to weep. (Zora Neale Hurston, ‘How It Feels to Be Colored Me').

"This is a book about humanists, but even humanists cannot agree on what a humanist is," declares Sarah Bakewell. Indeed, for centuries now, thinkers, writers, scholars, politicians, activists, artists, and countless others have been searching for and refining a philosophy of the human spirit. Humanism can be found in writings of Plato and Protagoras and in the thought of Confucius. It is ever-present in the work of Michel de Montaigne, and guided the thinking and activism of Harriet Taylor Mill. When (...) Zora Neale Hurston writes, "Somebody else may have my rapturous glance at the archangels. The springing of the yellow line of morning out of the misty deep of dawn, is glory enough for me." That is humanism par excellence. In Humanly Possible, Bakewell puts forward that all the different meanings of "humanism" are worth looking at together because they are all concerned with humanitas, or, as she puts it, "our culture and learning, our words and art, our good manners and sociable desire to say hello to the universe." What unites humanists, religious or not, scholarly or not, philosophical or not, is that they all put the human world of culture and morality at the center of their concerns. What could be more human than that? Embracing and indeed celebrating humanism's swirling, kaleidoscopic, rich ambiguity, Bakewell sets out not just to trace this vital philosophical lineage through the lives of its major protagonists but in fact to make her own dazzling contribution to its expansive literature. The result is an intoxicating, joyful celebration of the human spirit from one of our most beloved and charming writers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 459-461 [Access article in PDF] The Heart of What Matters. The Role for Literature in Moral Philosophy,by Anthony Cunningham; x & 296 pp. Berkeley: University of California Press, 2001, $60.00 cloth, $24.95 paper. Despite Socrates's rejection of the written word as a source of insight in the Phaedrus, a number of theorists have in recent years sought to find a role for literature in (...) critical thought. Anthony Cunningham's The Heart of What Matters joins a list of works that includes Richard Rorty's Contingency, irony and solidarity, Richard Posner's Law and Literature, and Martha Nussbaum's Poetic Justice. Whereas a number of these previous books have sought to articulate a public role for literature, Cunningham is more concerned with private philosophical reflection, specifically with the ways in which literature might help us reflect upon Socrates's dual questions "How should I live?" and "What sort of person should I be?" (p. 9). It is, nevertheless, appropriate to mention Cunningham's work in conjunction with these other texts because The Heart of What Matters faces a number of similar problems arising from what it means to read literature with an eye towards generating critical thought.The first part of the book consists of three chapters in which Cunningham sets out his conception of ethics, the role of a convincing ethical theory, and his account of what it means to "read for life." This last chapter is, by his own admission "fairly sketchy and theoretical" (p. 69), but he attempts to compensate for this in the second part where he offers—as a means, perhaps, of "showing by doing"—detailed, philosophically motivated readings of literary works by three authors: Kazuo Ishiguro, Toni Morrison, and Zora Neale Hurston. Like many of those who write about literature and ethics—including Wayne Booth and Martha Nussbaum—Cunningham's conception of ethics is "Aristotelian in spirit" (p. 5), as such it is no surprise to find that his "primary targets" in ethical theory are "Kant and Kantian ethics" (p. 4). Kant's theory of morality and indeed its various modern formulations—formulations Cunningham critques in some detail—are, he says, simply insufficient for capturing the nuances of our lived experience. Theories that focus on some underlying principle of morality are, he suggests, too abstract to help us answer Socrates's questions about the best way to live. By contrast, literature can, Cunningham argues, provide us with insight into the complexities of modern living. In a passage that is strongly reminiscent of Poetic Justice, Cunningham asserts that literature can "filter moral experience by heightening our attention to what should be morally salient and by directing us away from less crucial elements that can distract us from more important things" (p. 84). Similarly, in a passage that further echoes Nussbaum, Cunningham suggests that "literature can help us diagnose by taking us places that are difficult and even impossible to visit, much less understand in actual experience" (p. 85). Central to his overall argument is the suggestion, also common to Nussbaum and Rorty, that the [End Page 459] "right kind of novel" can "help us refine our moral vision by giving us a studied opportunity to practice seeing and appreciating diverse ethical lores" (pp. 84-85). It is, however, this suggestion that reading is some sort of moral exercise that proves problematic for almost all work on literature and philosophy.If literature is indeed a way for us to practice exercising our moral powers, then it is not clear why philosophers such as Cunningham, Nussbaum, and Rorty lavish so much attention on their own reading of texts. Reading about reading is not, I wish to suggest, the best way to exercise this moral capacity: it is rather like expecting to benefit from watching somebody else exercise. Instead of offering us a theory of reading which might allow us to engage in this exercise ourselves, Cunningham simply gives an account of his own experience. In this way, the subtitle of Cunningham's book, "The Role for Literature in... (shrink)

With agile, pathbreaking use of psychoanalytic theory, Tate explores African-American desire, alienation, and subjectivity in neglected novels by Emma Kelley, W.E.B. Du Bois, Richard Wright, Zora Neale Hurston, and Nella Larsen.

In lieu of an abstract, here is a brief excerpt of the content:Forms of Life and Cultural EndowmentsVictor Peterson IIYou know, honey, us colored folk is branches without roots and that makes things come round in queer ways.—Zora Neale Hurston (Their Eyes Were Watching God 15)what does it mean when we speak of a form of life? When speaking of a form of life, we consider one different from others by way of its mode of expression, that is, (...) by its means of construction. This interpretation lends itself to a functional analysis of the material put to use and whose operations jointly express the concept we are after. Modes of expression can be plotted between a rhetorical and semantic axis (Gates 48). As such, "[t]he level of connotation of the visual sign, of its contextual reference and positioning in different discursive fields of meaning and association, is the point where already coded signs intersect with the deep semantic codes of a culture and take on additional more active ideological dimensions" (Hall 56). Coordinates within this domain encode signifying practices, revitalizing the traditional concept of signification as a function of what's signified with respect to a signifier. The content of a syntagm in this coordinate system, a point in this plane, indexes its function with respect to others. As such, we will conceive of the content of modes of expression functionally.A function is defined by pairing an element from a domain and another from a sub/co-domain whereby that pair is an element of that function. In this way, we can treat functions as abstract objects. If we treat a domain as what determines the availability of an expression, and a sub/co-domain as representative of its range of application, then the function of applying some proposition maps a movement from a domain of selection to one of composition, that is, its use with respect to others. The function of an expression, then, represents an operation over the possible worlds of its appropriate application (Taylor 201–02, 269, 276). This becomes more interesting when considering assertions whereby one subject is known to be the case for another, a concept that's modeled when a proposition from one is appearing in the object position of another (Fara 65–73). Resultingly, a proposal for an [End Page 26] ontology constituted by modes of interaction rather than identity stipulations to physical entities arises. It follows that if a form of life is understood by way of its mode of expression, then its content is expressed as an ensemble of the functions of its operations. Let this ensemble of functions be called an endowment.There is a pervasive debate in cultural studies that obsesses over proprietary notions as well as the ability to locate an origin. With that in mind, let us consider a coordinate system where there are two perpendicular axes, and we define positions within the space provided at the intersection of lines drawn from each. Each axis is represented by an ordered series of markers. A line drawn from each axis indicates that the coordinates indexed at their intersection is a function of these two markers. This locates an individual at a point in that domain, indexing a relation between the axes framing that space. Therefore, that coordinate-wise space, here a domain of possible expression, is not "empty" as pessimists would claim, but is filled with functional-content, albeit functions yet applied and marked by a point in that plane.Although we are currently speaking of two-dimensional space, the same follows for as many dimensions as we want. A point's location is a function of three values in three dimensions, four in four dimensions, and so on. Forms of life, then, will be comprised of four dimensions. This allows for a space-time conception, wherein joint expressions bend space-time and that space dictates those individuals' possible movements. From this, we construct a geometrical model of space-time represented as a cube composed of two-dimensional slices with these slices extending in a particular direction like cards stacked one on top of the other to model time.We want our conception of a form of life to be spatial. After all, it... (shrink)

Acknowledgements -- Preface -- Introduction: in the spirit of Zora : traveling with the "eternal feminine" -- Returning to the margin : changed -- African American literature : like a bridge over troubled water -- Zora Neale Hurston and Langston Hughes : envisioning the (new) "Negro artist" -- Striking down colorism in color struck : a play in four scenes -- We are not tragically colored -- Langston Hughes writing about the "the Negro artist and the racial (...) mountain" -- Transgressing boundaries of white male power in the ways of white folks -- Blackness from the inside out -- Seeing "women loving women" -- Black female journey to sexual in(sight)fullness -- "What if Mama finds out?" : entering a life-changing place of self-liberation -- When "nobody was lesbian, nobody was feminist, nobody was gay" -- Higher education that makes a difference -- "Still children of the night" : survivors against the odds -- Black boys' lives still matter : in search of a loving father -- "Spilled salt" on a Black mother's table and the struggle for maternal survival -- No shame: recovering our mother's way(s) of being -- Remembering where we came from -- Getting to the heart of the lessons : Black women teaching "other" ways of loving -- Epilogue: continuing to teach in the image of "an alternative Black man" -- It's about revolutionary manhood. (shrink)

This collection demonstrates the strong influence that humanism and freethought had in developing the history and ideals of black intellectualism. Most people are quick to note the profound influence that religion has played in African-American history: consoling the downtrodden slave or inspiring the abolitionists, the underground railroad, and the civil rights movement. But few are aware of the role humanism played in shaping the black experience: developing the thought and motivating the actions of powerful African-American intellectuals. Section One of this (...) book offers biographical sketches of such prominent black humanists as Frederick Douglass, Cheikh Anta Diop, W.E.B. DuBois, Hubert H. Harrison, and Richard Wright. Section Two features essays by black humanists: Douglass, DuBois, Charles W. Faulkner, Langston Hughes, Zora Neale Hurston, Ishmael Jaffree, Claude McKay, Melvin B. Tolson, and Bruce Wright. Section Three offers the views of contemporary black African humanists: Freda Amakye Ansah, Emmanuel Kofi Mensah, Nkeonye Otakpor, Franz Vanderpuye, and Kwasi Wiredu. Section Four contains interviews conducted by Allen on the subjects of black humanist activism, the Afroasiatic roots of classical civilization, and the Harlem Renaissance with: Martin G. Bernal, Charles Faulkner, Leonard Harris, Norman Hill, and Alaine Locke. (shrink)

“Granny midwives” often based their authority to practice midwifery on the spiritual traditions of rootwork or conjure passed down by the foremothers who trained them. However, granny midwives were compelled to give up their conjure-infused methods of birthing if they wanted to become licensed or be authorized by the state to continue their practice of midwifery. In response, some granny midwives refused to recognize the authority of the state in the birthing realm, willfully retaining rootwork in their birthing practices. In (...) this article, I contrast the response of granny midwives, a politics of refusal, with another major tradition in African American thought, a politics of recognition, such as gaining citizenship and rights, permits, and licenses from the state. Due to the political stakes of the granny midwife's conflict with the state, I argue that black feminists often endow the figure of the granny midwife with the political significance of refusal in our emancipatory imaginaries. To demonstrate this, I will analyze the interventions in black liberation politics that two black feminist writers make through their invocation of granny midwives: Zora Neale Hurston's essay, “High John de Conquer,” and Toni Morrison's novel, Paradise. (shrink)

Bernard Schweizer explores a hitherto neglected strain of religious rebellion. Misotheism, or hatred of God, is more radical than atheism. God-haters do not question God's existence, but instead deny his competence and goodness. Sifting through centuries of evidence and uncovering fascinating networks of influences among writers and thinkers as diverse as Friedrich Nietzsche, Zora Neale Hurston, and Philip Pullman. Schweizer reveals deep undercurrents of misotheism in many acclaimed works of literature and philosophy.

Résumé Ce texte se compose de trois extraits de l’ouvrage de Fatimah Tobing Rony, The Third Eye. Race, Cinema, and Ethnographic Spectacle, dans lequel l’auteure explore les représentations des « indigènes » non occidentaux au début du XX e siècle, entre cinéma, culture populaire et ethnographie. Elle met en évidence le rôle des images dans la perception de l’altérité à travers la notion de « troisième œil », soit l’expérience consistant à regarder tout en étant soi-même regardé comme un Autre. (...) Entre récit autobiographique, réflexion sur la relation entre histoire et narration, et une analyse des films de Zora Neale Hurston, ce texte aborde des stratégies de résistance qui déjouent les constructions occidentales du « sauvage ». (shrink)

The central argument of Ann Cahill’s Overcoming Objectification is that the concept of sexual objectification should be replaced by Cahill’s concept of derivatization in order to better capture the wrongness of degrading images and practices without depending on an objectionably narrow and disembodied conception of self. To derivatize someone is not to treat her as a non-person, but rather to treat her as a derivative person, reducing her to an aspect of another’s being. Although not perfect, Cahill’s approach advances the (...) conversation about what we should find objectionable in certain types of sexual representations and interactions by helping us to talk about sex in a way that does not start from the presupposition that physical expressions of sexuality are inherently debasing. I describe the thesis of the book, how I used it in my Philosophy and Women course, and some criticisms that I have and that arose from class discussion. (shrink)

The definitive biography of Alain Locke, the first African American Rhodes Scholar and Harvard PhD in philosophy, Howard University philosophy scholar, and architect of the Harlem Renaissance, who mentored a generation of artists including Langston Hughes and Zora Neale Nurston and promoted the work of African Americans as the quintessential creators of American modernism. This biography explores his professional and private life, including his relationships with white patrons and his lifelong search for love as a gay man.

In 1999, Neale Donald Walsch wrote three little books, each focusing on different areas of life: Neale Donald Walsch on Relationships, Neale Donald Walsch on Holistic Living, and Neale Donald Walsch on Abundance and Right Livelihood. In 2010, these three books were published in a single volume as Neale Donald Walsch's Little Book of Life. Walsch describes this book as a thousand pages of dialogue in the Conversations with God series reduced down to a few (...) salient points and a few very direct observations about how to render them functional. Readers can think of this book as either Conversations with God in a Nutshell or the Essential Conversations with God. Here are the basic principles for: Satisfying personal relationships; Living a joyful, harmonious life; Discovering authentic prosperity. Walsch's words provide hope and help for readers living in particularly challenging times. This is indeed Walsch's essential life guide for twenty-first century readers."--Back cover. (shrink)

The dialogue focuses on the major issues of the contemporary theoretical debate on judicial review and the Supreme Court's role in American constitutional democracy. The discussion begins with the US Supreme Court's case Hamdan v. Rumsfeld, successfully argued by Prof. Katyal last year, and covers important issues such as the separation and balance of powers after 9/11, the legitimacy of the laws of terror, the relation between US constitutional law and foreign law, the counter‐majoritarian difficulties posed by the exercise of (...) judicial review, and the legal academy's influence on legal practice. (shrink)

Echoes of Antiquity: Hellenistic Thought in a Politically Changing World invites readers to explore the philosophical schools of the Hellenistic era, including the Skeptics, Cynics, Epicureans, and Stoics, while connecting ancient thought to modern challenges through the complexities of Hellenistic philosophy.

Clinical trials for acute conditions such as myocardial infarction and stroke pose challenges related to informed consent due to time limitations, stress, and severe illness. Consent processes shou...

Based on a longitudinal interview study of students at a liberal arts college, this book provides a rich description of how aspects of the college community and how relationships developed within that community create opportunities for transformative experiences that lead to personal and academic growth for students.

In this study, we test the interactive effect on ethical decision-making of (1) personal characteristics, and (2) personal expectanciesbased on perceptions of organizational rewards and punishments. Personal characteristics studied were cognitive moral developmentand belief in a just world. Using an in-basket simulation, we found that exposure to reward system information influenced managers’ outcome expectancies. Further, outcome expectancies and belief in a just world interacted with managers’ cognitive moral development to influence managers’ ethical decision-making. In particular, low-cognitive moral development managers who (...) expected that their organization condoned unethical behavior made less ethical decisions while high cognitive moral development managers became more ethical in this environment. Low cognitive moral development managers also behaved less ethically when their belief in a just world was high. (shrink)