Marguerite Clark as Topsy in Uncle Tom’s Cabin (1918). Charlton Heston as Ramon Miguel Vargas in Touch of Evil (1958). Mizuo Peck as Sacagawea in Night at the Museum (2006). From the early days of cinema to its classic-era through to the contemporary Hollywood age, the history of cinema is replete with films in which the racial (or ethnic) background of a principal character does not match the background of the actor or actress portraying that character. I call this actor-character (...) race-mismatching. In this paper, I mainly explore whether a coherent and plausible account can be given of race-matching in terms of purely aesthetic considerations, i.e., an account that absent moral considerations can nevertheless coherently and productively answer the following questions: can race-mismatching itself ever be an aesthetic defect of a film, and if so, under what conditions can race-mismatching be such an aesthetic defect. I claim that once we have in place a precise account of the nature of race-matching, it becomes clear that films for which race-mismatching appears to constitute an aesthetic defect are actually films with which properly engaging requires audiences to satisfy inconsistent epistemic conditions. In such cases, I claim, race mismatching constitutes an aesthetic defect for the film-fiction because—in virtue of the inconsistency underwritten by the race-mismatching—that film-fiction undermines the very uptake it prescribes. I then argue that if what’s defective about race-mismatching aesthetically is predicated on something being defective about race-mismatching epistemically, then if there is nothing in principle defective about race-mismatching epistemically, then so too for mismatching aesthetically (and so too for mismatching morally). From this I conclude that reasons stemming only from race-matching/mismatching itself lack the normative force sufficient to warrant the claim that film-fictions ought not race-mismatch. (shrink)

Dan Flory; Race, Rationality, and Melodrama: Aesthetic Response and the Case of Oscar Micheaux, The Journal of Aesthetics and Art Criticism, Volume 63, Issue 4.

Gender, race, and sexuality are not just identities; they are also systems of social organization – i.e., systems of privilege and oppression. This article addresses two main ways privilege and oppression (e.g., racism, misogyny, heteronormativity) are relevant topics in and for philosophical aesthetics: (i) the role of the aesthetic in privilege and oppression, and (ii) the role of philosophical aesthetics, as a discipline and a body of texts, in constructing and naturalizing relations of privilege and oppression (i.e., (...) white heteropatriarchy). The first part addresses how systems of privilege and oppression use the aesthetic. I will discuss various ways race, gender, and sexuality, as both embodied identities and broader social institutions, work with and through “the aesthetic”. The second part addresses racism and (hetero) sexism in the discipline of aesthetics. Both in its history and its present practice aesthetics’apparent neutrality on questions of privilege and oppression is actually evidence of its investment in systems of privilege and oppression. (shrink)

After the discovery of the anthropoid ape in Asia and in Africa, eighteenth-century Holland became the crossroads of Enlightenment debates about the human species. Material evidence about human diversity reached Petrus Camper, comparative anatomist in the Netherlands, who engaged, among many other interests, in menschkunde. Could only religious doctrine support the belief of human demarcation from animals? Camper resolved the challenges raised by overseas discoveries with his thesis of the facial angle, a theory which succeeding generations distorted and misused in (...) order to justify slavery, racism, antisemitism, and genocide. Thanks to his abundant papers in Dutch archives, Camper's ideas are restored to their original state. Eighteenth-century issues differed from those of other centuries: Did orang-utans talk like humans, walk like humans; even rape humans? What was the skin pigmentation of Adam and Eve? Did the spectrum of human physiognomies around the globe reflect the Fall of Man, the Creator's bounty, or merely bizarre beauty practices? Why did the ideal beauty of the Greeks appear to be the reverse of the Hottentots? The book contains some 50 illustrations, including apes with hiking sticks or tea cups, metamorphoses of living forms, and Apollo or Venus icons which titillated the science of man. (shrink)

For Pleasure argues that aesthetic pleasure and formal experimentalism hold the twinned capacity to maintain a global racial order and also to undo it.

Explores the theme of aesthetic agency and its potential for social and political progress.

Critical accounts of race have drastically changed the landscapes of the social, the political, and the intimate. Philosophical perspectives on racial identity and difference hold out transformative possibilities for aesthetics. Revealing the entanglement of analytical concepts and day-to-day life with racial meaning, such approaches challenge the field of aesthetics to encounter its methodologies with a fresh look. How can aesthetics rethink itself by rethinking race and empire? What shape do aesthetic themes take in light of (...) the historical, spatial, imaginative, affective, sensory, and sexual registers of racial subjectivity and the pervasiveness of racist and neocolonial constellations? How do art and the aesthetic reflect, or critically engage, racialization? What forms and idioms enable us to articulate the racial ethics and politics that shape our various conscious and unconscious aesthetic projects? (shrink)

Ape to Apollo is the first book to follow the development in the eighteenth century of the idea of race as it shaped and was shaped by the idea of aesthetics.

This paper considers imagination a performative expression using an ethico-aesthetic paradigm. Using William James’ notion of “medical materialism” as a critical tool, I turn to the work of autistic poet Tito Mukhopadhyay, demonstrating how disability politics restructures totalizing systems of domination without referring to rights or identity claims.

Why do physicians who've taken the Hippocratic Oath willingly cut into seemingly healthy patients? How do you measure the success of surgery aimed at making someone happier by altering his or her body? Sander L. Gilman explores such questions in Creating Beauty to Cure the Soul, a cultural history of the connections between beauty of body and happiness of mind. Following these themes through an impressive range of historical moments and players, Gilman traces how aesthetic alterations of the body have (...) been used to "cure" dissatisfied states of mind. In his exploration of the striking parallels between the development of cosmetic surgery and the field of psychiatry, Gilman entertains an array of philosophical and psychological questions that underlie the more practical decisions rountinely made by doctors and potential patients considering these types of surgery. While surveying and incorporating the relevant theories of Sigmund Freud, Alfred Adler, Karl Menninger, Paul Schilder, contemporary feminist critics, and others, Gilman considers the highly unstable nature of cultural notions of health, happiness, and beauty. He reveals how ideas of race and gender structured early understandings of aesthetic surgery in discussions of both the "abnormality" of the Jewish nose and the historical requirement that healthy and virtuous females look "normal," thereby enabling them to achieve invisibility. Reflecting upon historically widespread prejudices, Gilman describes the persecutions, harrassment, attacks, and even murders that continue to result from bodily difference and he encourages readers to question the cultural assumptions that underlie the increasing acceptability of this surgical form of psychotherapy. Synthesizing a vast body of related literature and containing a comprehensive bibliography, Creating Beauty to Cure the Soul will appeal to a broad audience, including those interested in the histories of medicine and psychiatry, and in philosophy, cultural studies, Jewish cultural studies, and race and ethnicity. (shrink)

Decolonizing aesthetics requires a philosophical reexamination of art and cultural representation to address ethical conflicts and the legacy of colonial biases. This study explores the suppression and marginalization perpetuated by colonial aesthetics, with a focus on gender, race, and cultural diversity. Drawing on postcolonial theories, the research highlights the disparities and systemic exclusions within artistic traditions, advocating for decolonized practices that restore and celebrate suppressed cultural expressions. Case studies such as Indigenous Futurism and exhibitions promoting the art (...) of formerly colonized communities illustrate the practical application of decolonization efforts. Using primary data analyzed through Smart PLS software, the study examines correlations and causal relationships between decolonization initiatives and shifts in aesthetic valuation. The findings reveal both challenges and opportunities in dismantling colonial legacies, emphasizing the role of art education, public workshops, and community engagement in fostering awareness and inclusivity. Artists and institutions play a pivotal role in promoting decolonized aesthetics by addressing historical biases and amplifying marginalized voices. Decolonization emerges as an ongoing ethical and cultural practice aimed at dismantling colonial power structures in art and aesthetics, ensuring a more equitable representation of global artistic traditions. (shrink)

In this article I discuss what I am calling “ally aesthetics.” I suggest a set of necessary, though not necessarily sufficient, considerations for the creation of successful instances of ally art. Focusing on three case studies, I propose some key characteristics of ally aesthetics, such as its contextual/temporal nature and how that relates to success and the importance of understanding the place of the ally aesthetic within the larger movements they are allying with.

In its comprehensive overview of Alain Locke's pragmatist philosophy this book captures the radical implications of Locke's approach within pragmatism, the critical temper embedded in Locke's works, the central role of power and empowerment of the oppressed and the concept of broad democracy Locke employed.

The body is a rich object for aesthetic inquiry. We aesthetically assess both our own bodies and those of others, and our felt bodily experiences have aesthetic qualities. The body features centrally in aesthetic experiences of visual art, theatre, dance and sports. It is also deeply intertwined with one's identity and sense of self. Artistic and media representations shape how we see and engage with bodies, with consequences both personal and political. This volume contains sixteen original essays by contributors in (...) philosophy, sociology, dance, disability theory, critical race studies, feminist theory, medicine, and law. They explore bodily beauty, sexual attractiveness, the role of images in power relations, the distinct aesthetics of disabled bodies, the construction of national identity, the creation of compassion through bodily presence, the role of bodily style in moral comportment, and the somatic aesthetics of racialized police violence. -/- Contents: Maria del Guadalupe Davidson, "Black Silhouettes on White Walls: Kara Walker’s Magic Lantern"; A. W. Eaton, "Taste in Bodies and Fat Oppression"; C. Winter Han, "From 'Little Brown Brothers' to 'Queer Asian Wives': Constructing the Asian Male Body"; Deborah L. Rhode, "Appearance as a Feminist Issue"; Shirley Anne Tate, "A Tale of Two Olympians—Beauty, 'Race,' Nation"; Glenn Parsons, "The Merrickites"; Stephen Davies, "And Everything Nice"; Tobin Siebers, "In/Visible: Disability on the Stage"; Jill Sigman, "Live, Body-Based Performance: An Account from the Field"; Barbara Gail Montero, "Aesthetic Effortlessness"; Peg Brand Weiser and Edward B. Weiser, "Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports"; Yuriko Saito, "Body Aesthetics and the Cultivation of Moral Virtues"; George Yancy, "White Embodied Gazing, the Black Body as Disgust, and the Aesthetics of Un-Suturing"; Richard Shusterman, "Somaesthetics and the Fine Art of Eating"; Ann J. Cahill, "Sexual Desire, Inequality, and the Possibility of Transformation"; Sheila Lintott and Sherri Irvin, "Sex Objects and Sexy Subjects: A Feminist Reclamation of Sexiness" -/- . (shrink)

"A first-rate introduction to the field, accessible to scholars working from a variety of disciplinary and theoretical perspectives. Highly recommended... " —Choice "... offers both broad theoretical considerations and applications to specific art forms, diverse methodological perspectives, and healthy debate among the contributors.... [an] outstanding volume."—Philosophy and Literature "... this volume represents an eloquent and enlightened attempt to reconceptualize the field of aesthetic theory by encouraging its tendencies toward openness, self-reflexivity and plurality." —Discourse & Society "All of the authors challenge (...) the traditional notion of a pure and disinterested observer that does not allow for questions of race/ethnicity, class, sexual preference, or gender." —Signs These essays examine the intellectual traditions of the philosophy of art and aesthetics. Containing essays by scholars and by the writer Marilyn French, the collection ranges from the history of aesthetic theory to a philosophical reflection on fashion. The contributions are unified by a sustained scrutiny of the nature of "feminist," "feminine," or "female" art, creativity, and interpretation. (shrink)

Aesthetic evaluations of human bodies have important implications for moral recognition and for individuals’ access to social and material goods. Unfortunately, there is a widespread aesthetic disregard for non-white bodies. Aesthetic evaluations depend on the aesthetic properties we regard objects as having. And it is widely agreed that aesthetic properties are directly accessed in our experience of aesthetic objects. How, then, might we explain aesthetic evaluations that systematically favour features associated with white identity? Critical race philosophers, like Alia Al-Saji, (...) Mariana Ortega, Paul C. Taylor, and George Yancy, argue that this is because the perception of racialized bodies is affected by the social structures in which they are appreciated. The aim of this paper is to propose how social structures can affect aesthetic perception. I argue that mental imagery acquired through the interaction with aesthetic phenomena structures the perception of non-aesthetic properties of bodies, so that aesthetic properties consistent with racist stereotypes are attributed to individuals. (shrink)

In the closing episode of Diamela Eltit's 1988 novella The Fourth World, the city of Santiago de Chile—including its inhabitants—goes up for sale. Eltit's investigation of the specter of all‐out commodification illuminates the entwinements of aesthetics and race under finance capitalism. Published at the tail end of the Pinochet dictatorship, the novel makes a poignant contribution to the debate over the “lettered city” in Latin America. Briefly situating The Fourth World in this context and placing it in conversation (...) with current lines of reflection on social identity and the notion of the aesthetic, this article analyzes the novel's implications for a philosophical understanding of the aesthetics–race relation: one, the work attests to an expansive conception of racial identity; two, it comprehends aesthetic agency as a much‐needed and potentially critical site of transformed racial existence; and, three, it calls for multimodal forms of address to counter neoliberal rationality. The article brings out these points through a close reading of passages and by highlighting the novel's decolonial feminist aesthetic. In ending, the article takes note of the new notions of creativity and political participation that arise. (shrink)

This article introduces the preoccupations and themes that define the study and practice of black aesthetics. It presents a provisional sketch of a field that has long been recognized in other humanities disciplines, but that is only now gaining wide notice in academic philosophy. This sketch emphasizes the aspects of the field that invite specifically philosophic scrutiny, while touching lightly on specific artworks, critical literatures and historical developments. Among the topics that receive attention are the following: race, aesthetic (...) politics, creolization, nationalism, modernity, white supremacy and the blues. (shrink)

Open Access: This article argues for an aesthetic approach to resisting oppression based on judgments of bodily unattractiveness. Philosophical theories have often suggested that appropriate aesthetic judgments should converge on sets of objects consensually found to be beautiful or ugly. The convergence of judgments about human bodies, however, is a significant source of injustice, because people judged to be unattractive pay substantial social and economic penalties in domains such as education, employment and criminal justice. The injustice is compounded by the (...) interaction between standards of attractiveness and gender, race, disability, and gender identity. -/- I argue that we should actively work to reduce our participation in standard aesthetic practices that involve attractiveness judgments. This does not mean refusing engagement with the embodiment of others; ignoring someone’s embodiment is often a way of dehumanizing them. Instead, I advocate a form of practice, aesthetic exploration, that involves seeking out positive experiences of the unique aesthetic affordances of all bodies, regardless of whether they are attractive in the standard sense. I argue that there are good ethical reasons to cultivate aesthetic exploration, and that it is psychologically plausible that doing so would help to alleviate the social injustice attending judgments of attractiveness. -/- This essay was the winner of the 30th Anniversary of the American Society for Aesthetics Feminist Caucus Committee Feminist Research Essay prize in 2020. (shrink)

What Is Race? Evidence from Scientists (1952) is a picture book for schoolchildren published by UNESCO as part of its high-profile campaign on race. The 87-page, oblong, soft-cover booklet contains bold, semi-abstract, pared-down images accompanied by text, devised (so it declared) to make scientific concepts ‘more easily intelligible to the layman’. Produced by UNESCO’s Department of Mass Communication, the picture book represents the organization’s early-postwar confidence in the power of scientific knowledge as a social remedy and diplomatic tool. (...) In keeping with a significant component of the race campaign, What Is Race? presented genetics as the route to an enlightened, scientific, non-prejudiced understanding of race. This article seeks to explain the book’s management, aesthetics and framing in the context of postwar disciplinary and international politics. Viewing UNESCO’s race campaign as a high point for an internationalist ideology of mass education, this article also analyses the visual and literary arguments of What Is Race? and proposes that the enduring image of genetics as technical and neutral knowledge was in part shaped by UNESCO’s efforts to communicate scientific authority to an apparently ‘popular’ audience. (shrink)

Ewa Ziarek fully articulates a feminist aesthetics, focusing on the struggle for freedom in women's literary and political modernism and the devastating impact of racist violence and sexism. She examines the contradiction between women's transformative literary and political practices and the oppressive realities of racist violence and sexism, and she situates these tensions within the entrenched opposition between revolt and melancholia in studies of modernity and within the friction between material injuries and experimental aesthetic forms. Ziarek's political and aesthetic (...) investigations concern the exclusion and destruction of women in politics and literary production and the transformation of this oppression into the inaugural possibilities of writing and action. Her study is one of the first to combine an in-depth engagement with philosophical aesthetics, especially the work of Theodor W. Adorno, with women's literary modernism, particularly the writing of Virginia Woolf and Nella Larsen, along with feminist theories on the politics of race and gender. By bringing seemingly apolitical, gender-neutral debates about modernism's experimental forms together with an analysis of violence and destroyed materialities, Ziarek challenges both the anti-aesthetic subordination of modern literature to its political uses and the appreciation of art's emancipatory potential at the expense of feminist and anti-racist political struggles. (shrink)

In its comprehensive overview of Alain Locke's pragmatist philosophy this book captures the radical implications of Locke's approach within pragmatism, the critical temper embedded in Locke's works, the central role of power and empowerment of the oppressed and the concept of broad democracy Locke employed.

For many decades, race and racism have been common areas of study in departments of sociology, history, political science, English, and anthropology. Much more recently, as the historical concept of race and racial categories have faced significant scientific and political challenges, philosophers have become more interested in these areas. This changing understanding of the ontology of race has invited inquiry from researchers in moral philosophy, metaphysics, epistemology, philosophy of science, philosophy of language, and aesthetics. The Routledge (...) Companion to Philosophy of Race offers in one comprehensive volume newly written articles on race from the world's leading analytic and continental philosophers. It is, however, accessible to a readership beyond philosophy as well, providing a cohesive reference for a wide student and academic readership. The Companion synthesizes current philosophical understandings of race, providing 37 chapters on the history of philosophy and race as well as how race might be investigated in the usual frameworks of contemporary philosophy. The volume concludes with a section on philosophical approaches to some topics with broad interest outside of philosophy, like colonialism, affirmative action, eugenics, immigration, race and disability, and post-racialism. By clearly explaining and carefully organizing the leading current philosophical thinking on race, this timely collection will help define the subject and bring renewed understanding of race to students and researchers in the humanities, social science, and sciences. (shrink)

Historically critical reflection on whiteness in the United States has been a long-standing practice in slave folklore and in Mexican resistance to colonialism, Asian American struggles against exploitation and containment, and Native American stories of contact with European colonizers. Drawing from this legacy and from the disturbing silence on “whiteness” in postsecondary institutions, critical whiteness scholarship has emerged in the past two decades in U.S. academies in a variety of disciplines. A small number of philosophers, critical race theorists, postcolonial (...) theorists, social historians, and cultural studies scholars have revisited and reexamined questions of race and identity with an analysis that now focuses on historical studies of racial formation and the deconstruction of whiteness as an unmarked privilege-granting category and system of dominance. Collectively, these writings identify whiteness as a cultural disposition and ideology held in place by specific political, social, moral, aesthetic, epistemic, metaphysical, economic, legal, and historical conditions, crafted to preserve white identity and relations of white supremacy (Mills 2003). In this way, whiteness studies is a conscious attempt to think critically about how white supremacy continues to operate systemically, and sometimes unconsciously, as a global colonizing force. -/- We extended the notion of ‘reproduction’ to include practices of reading and cultural forms of reiteration, but shied away from making the special issue into a philosophically driven cultural studies volume. Our volume is interdisciplinary by necessity: it offers theoretical and philosophical perspectives grounded in a variety of disciplinary starting points, all of which illustrate how whiteness remains at the center of reproduction and social regulation. Our hope is that this volume will further open philosophical conversations on the ways white supremacy regulates gender by providing new ways of thinking through those histories and reproductive materialities that make whiteness simultaneously a centrally defining signifier of bodies, values, and meanings and a signifier coding the “normal,”“the pure” and “the real” in white supremacist thinking. -/- We have categorized the contributions to this collection into three major areas: Resistance, Genealogies, and Miscegenation and Purity. These serve as both a guide for the reader's pathway through the volume and as a way of interconnecting the essays, although the intertextuality of all these writings also provides a rich field of rhizomic offshoots and a deeper connectivity. (shrink)

In this essay, I am concerned with the representation of groups in popular culture. My interest has to do with the politics of representing people. The couplet beauty/nonbeauty (or, more specifically, beauty/ugliness) frequently figures importantly in the representation of groups, including most notably, for my purposes, ethnic and racial minorities. This couplet can be politically significant because beauty is often associated in our culture with moral goodness. . . . Thus, beauty and non beauty can serve as a basis for (...) political rhetoric. . . . If one concept of human beauty (which is connected to ideas of goodness) sees beauty as the instantiation or near approximation of the concept human being, then the related idea of human ugliness (which is connected with ideas of moral degradation) is rooted in problematic exemplifications of the concept of the human. These "problematic exemplifications" can take many forms. The two that will preoccupy me in this essay are the imperfect exemplifications of the human found in the popular genres of horror and humor. (shrink)

This article tries to provide a genealogy for, and a characterization of, “critical philosophy of race,” which has only recently begun to gain formal recognition as a subject within the discipline. After discussing the contested periodization of race and racism, the author turns to the related question of whether they have affected the history of Western philosophy from the classical epoch to modernity. Then he reviews contemporary scholarship in critical philosophy of race, looking at standard divisions of (...) the field: metaphysics ; epistemology ; aesthetics ; ethics ; social and political philosophy ; and existentialism, phenomenology, and pragmatism. (shrink)

Over the last decade a radical transformation of literary study has taken place, a transformation most distinctly connected to a fundamental change in the conception of what constitutes the "literary." A shift in emphasis from interpretation to theory and from questions about what texts might "mean" to questions about the systems that contain them, along with the movement to replace literary study with cultural studies, have all contributed to this change. In response to this transformation, George Levine has assembled essays (...) by a wide variety of leading scholars in the field of literary study. The contributors to this book rethink the aesthetic, rewrite its history, and reestablish the formal as a necessary element in criticism of literature and of its ideological implications. An early step in the recuperation of the aesthetic, Aesthetics and Ideology works through the discourses of race, gender, class, and politics, using many of the strategies of contemporary theory, to show how the aesthetic vitally and richly opens itself to new politics, and new possibilities of human value. This is an important contribution to the current academic culture wars. (shrink)

With this nuanced and interdisciplinary work, political theorist Mihaela Mihai tackles several interrelated questions: How do societies remember histories of systemic violence? Who is excluded from such histories' cast of characters? And what are the political costs of selective remembering in the present? Building on insights from political theory, social epistemology, and feminist and critical race theory, Mihai argues that a double erasure often structures hegemonic narratives of complex violence: of widespread, heterogeneous complicity and of "impure" resistances, not easily (...) subsumed to exceptionalist heroic models. In dialogue with care ethicists and philosophers of art, she then suggests that such narrative reductionism can be disrupted aesthetically through practices of "mnemonic care," that is, through the hermeneutical labor that critical artists deliver—thematically and formally—within communities' space of meaning. Empirically, the book examines both consecrated and marginalized artists who tackled the memory of Vichy France, communist Romania, and apartheid South Africa. Despite their specificities, these contexts present us with an opportunity to analyze similar mnemonic dynamics and to recognize the political impact of dissenting artistic production. Crossing disciplinary boundaries, the book intervenes in debates over collective responsibility, historical injustice, and the aesthetics of violence within political theory, memory studies, social epistemology, and transitional justice. (shrink)

This chapter examines race in film through exploring what the author calls “cinema beyond the veil.” This involves addressing several themes. The first is historical—namely, the story of racial portraits in film. The second is hermeneutical—that is, interpreting the portrayal of race in film. The third is philosophical—pertaining particularly to the aesthetic quality of film where race emerges. And the fifth is political—whether race can be in film without subordinating aesthetic aims to political imperatives. Conceptual tools (...) rallied in the service of this analysis include audiovisuality, allegory, monstrosity, political aesthetics, and potentiated double consciousness. (shrink)

The decades following the civil rights and decolonization movements of the sixties and seventies - termed the post-soul era - created new ways to understand the aesthetics of global racial representation. Daphne Lamothe shows that beginning around 1980 and continuing to the present day, Black literature, art, and music resisted the pull of singular and universal notions of racial identity. Developing the idea of 'Black aesthetic time' - a multipronged theoretical concept that analyzes the ways race and time (...) collide in the process of cultural production - she assesses Black fiction, poetry, and visual and musical texts by Paule Marshall, Zadie Smith, Tracy K. Smith, Dionne Brand, Toyin Ojih Odutola, and Stromae, among others. Lamothe asks how our understanding of Blackness might expand upon viewing racial representation without borders - or, to use her concept, from the permeable, supple place of Black aesthetic time. Lamothe purposefully focuses on texts told from the vantage point of immigrants, migrants, and city dwellers to conceptualize Blackness as a global phenomenon without assuming the universality or homogeneity of racialized experience. In this new way to analyze Black global art, Lamothe foregrounds migratory subjects poised on thresholds between not only old and new worlds, but old and new selves. (shrink)

This is the first book-length project to examine the relationship between blackness, queerness, and hip hop. Using aesthetics as its organizing lens, Hip Hop Heresies attends to the ways that hip hop cultural production in New York City from the 1970s through the first fifteen years of the 21st century produced hip hop cultural products (film, visual art, and music) that offer "queer articulations" of race, gender, and sexuality that are contrary to hegemonic ideas and representations of those (...) categories in hip hop production, as well as in writing about hip hop culture. (shrink)

Examines Bergson’s work from the perspectives of critical philosophy of race and decolonial theory, placing it in conversation with theorists from Africa, the African Diaspora, and Latin America. Building upon recent interest in Henri Bergson’s social and political philosophy, this volume offers a series of fresh and novel perspectives on Bergson’s writings through the lenses of critical philosophy of race and decolonial theory. Contributors place Bergson’s work in conversation with theorists from Africa, the African Diaspora, and Latin America (...) to examine Bergson’s influence on literature, science studies, aesthetics, metaphysics, and social and political philosophy within these geopolitical contexts. The volume pays particular attention to both theoretical and practical forms of critical resistance work, including historical analyses of anti-racist, anti-imperialist, and anti-capitalist movements that have engaged with Bergson’s writings—for example, the Négritude movement, the Indigenismo movement, and the Peruvian Socialist Party. These historical and theoretical intersections provide a timely and innovative contribution to the existing scholarship on Bergson, and demonstrate the importance of his thought for contemporary social and political issues. Andrea J. Pitts is Assistant Professor of Philosophy at the University of North Carolina, Charlotte. Mark William Westmoreland is a doctoral candidate and instructor of ethics and philosophy at Villanova University. (shrink)