We used to think it was the job of a historian of Spanish science to combat the negative evaluations of Hispanic cultures that came to be known as the Black Legend. Paradoxically, attempts to amend dominant narratives of the history of science (such as the Scientific Revolution) so that they might accommodate Spain bolstered the very stories we meant to dismantle. Caring about the Black Legend deformed the history we were trying to write and never convinced (...) the people we hoped to sway. In this article, we provide an overview of the historiographic tendencies that most shaped our careers – responses to the Black Legend, such as contributionist history and bibliometrics – and explain why we have chosen to move on. (shrink)

Propaganda has been historically used for the benefit of certain social groups faced up to another. This propaganda is not always ethical at all. It is based on misconceptions, lies, and fallacies. We have analyzed (by using an experimental Psychology task) the presence and cognitive weight of certain mental footnotes and their influence on the Reasoning of Hispanic-Americans (Ecuadorian). These mental footnotes have been extracted from the classical work “A brief account of the destruction of the Indies” of Bartolomé de (...) las Casas in 1552. The most relevant and significant finding of this study is the clear evidence that nowadays we can still find these historical falsehoods in the current cognitive system of Ecuadorian people which are product of a well-planned and maliciously orchestrated propaganda. We conclude that all the contents of the Spanish black legend are the consequences of the aspirations of some social sectors to boycott the Spanish culture. (shrink)

In the late 19th and early 20th centuries, more than 4 million Italians migrated to the United States of America (U.S.), which they regarded as a utopia. The film _The Legend of 1900_, which was inspired by Alessandro Baricco’s monologue _Nocecento_ and directed by Giuseppe Tornatore, tells the story about the genius pianist 1900, an orphan, who is fostered by Danny, a black coalman in the boiler room of an ocean liner, and whose parents are presumably Italian immigrants. (...) Due to immigration law, 1900, a man with neither identity, visa, nor legal papers, cannot legally set foot on American soil. As a genius pianist, his existence is nothing more than that of musician—an entertainer to passengers on the gigantic trans-Atlantic liner Virginian, the only place he is permitted to live. According to Michel Foucault’s notion of heterotopia, a ship is “a piece of floating space, a placeless place”—a vessel transporting people to the land of their dreams. However, 1900, who has no legal status, will never arrive in utopia aboard Virginian. He can only construct a heterotopia—a mirror of utopia—so that it to him is a utopia. In the eyes of the law, 1900 is a legally non-existent person on Virginian, a placeless place. However, it is this lawless heterotopia and isolation that create a genius. In this paper, I illustrate how Virginian, as a place outside the law of land, metaphorically gives birth to a pianist, 1900, and why 1900 at the end chooses not to leave the ship, while also discussing the meaning behind the film and the relationship between law and space. (shrink)

In the late seventeenth century, when Spain gradually emerged from the general crisis that had afflicted the country, several members of the cultural elite became acquainted with the new sophisticated theories and methods of modern science. This newly acquired knowledge inspired these novatores (innovators) to examine Spain’s history and historiography. They intended in the first place to integrate and align Spain with European culture at large, since the religious and ideological obstacles of the past were supposedly no longer in force. (...) Their second purpose was to establish a scientifically based historical discourse focused on the genuine achievements of Spain over the centuries and its contribution to European civilization. They were thus willing to confront the long-standing distortions arising from propaganda, either from the outside—such as the “black legend” forged by the enemies of Spain—or from inside—such as the “fake glories” forged by earlier historians. Diverse circumstances, however, limited their enlightened endeavour, and whoever was eager to resume it in the eighteenth century came up against the restrictions imposed on modern culture by Enlightened despotism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:In Dialogue with the Mahābhārata by Brian BlackKrishna Mani Pathak (bio)In Dialogue with the Mahābhārata. By Brian Black. New York: Routledge, 2021. Pp. xii + 2158. Paperback £38.99, isbn 978-0-367-43600-1. Brian Black's In Dialogue with the Mahābhārata is a brilliant book that exhibits three distinct features which can certainly help an inquiring mind understand not only the structure and nature of the text of the Mahābhārata (...) but also the meanings contained in it, alongside aspects of Hindu historiography. It investigates the text through literary, philosophical, and social perspectives that Black argues emerge in the dialogues over strī-dharma, puruṣa-dharma, and the social identity and status of women (see for example, pp. 117, 124, 130, 140). The work's literary character can be seen in Black's analysis of the text and its epical narratives. In this book, the story of the Mahābhārata is presented by Black as a web of narratives wherein every verbal encounter and dialogue among all the participating interlocutors refers to a specific meaning and (deterministic) role played by these divine and terrestrial characters as interlocutors: "All the main human characters are incarnations and/or descendants of divine figures…and [experience] intense emotional reactions to their own situations and the actions of others" (p. 5). For instance, most male and female characters in the narratives of the Mahābhārata, including Vyāsa (the author), who is said to have "the power of omniscience," and Kṛṣṇa, who is God Himself, help the readers extrapolate how the entire series of trailing events in the Mahābhārata is destined to happen. This is what Black highlights when he writes that "as author of the narrative, [Vyāsa's] appearances within it often move the story along, as well as offer lenses through which to understand its cosmic implications" and that he "draws on his omniscience to provide an explanation of the marriage that transcends the knowledge of ordinary humans" (p. 61). Further, Black emphasizes destiny's (active) role when he writes that "the story of Draupadī's previous birth invites reading the Mahābhārata as a karmic narrative in which the actions and decisions of characters create the conditions for subsequent events in the central story" (p. 76). Perhaps for this reason, Black highlights his methodological approach to the text and its literary character in the beginning of the book to explain that the Mahābhārata is more like a complex narrative than any other Hindu legend or mythology and is difficult to understand without contextualizing its dialogues and [End Page 1] their historical connections. Besides, the temporal aspect of the conversations between the characters is another literary condition to connect various sub-narratives to the main story. Black uses the term "dialogue" in three different ways while examining the text of the Mahābhārata, and this is how he proposes the text should be explored by the inquisitive mind:I understand the term "dialogue" in three main ways: (1) as verbal encounter: the conversations, discussions, and debates between characters within the text; (2) as intra-textuality: the relationship between different dialogues in different sections of the text; and (3) as hermeneutics: my interpretive approach to the text. In most of the remainder of this Introduction, I will prepare the way for the subsequent chapters by discussing each of these three understandings of dialogue and how they are related to the book as a whole. (p. 4)Black observes that most scholars, both from the East and the West, have tried to understand the text of the Mahābhārata and its embedded stories from different perspectives, taking them merely as dialogues or a product of dialogical relations, and hardly anyone has explored the most fundamental aspect of dialogue in the Mahābhārata, i.e., "the verbal exchanges between characters" that he takes as the book's starting point (p. 1). Black's literary perspective has made the book an interesting and illuminating read, despite the fact that most of the characters of the Mahābhārata have either a divine origin... (shrink)

The Weber thesis on a hypothetical imprint of Protestantism in the «spirit» of capitalism has been widely spread. Not willing to discredit his proposal, the truth is that, being falsifiable with difficulty, some careless wordings have been derived from it claiming to explain the present economical circumstances through differential religious facts. Being religion an unparalleled all covering feature, such circumstances depend on many factors. It has been claimed some scientific status through the most diverse socioeconomic data. This is something also (...) applicable to those who claim to refute him. The intoxication so emanated from the Weber’s work seems disconcerting, seeing in it from an attempt to legitimate capitalism to a confirmation of the Black Legend. This work does not try to support or reject the thesis, but to investigate the kind of issues that could cause its formulation. For this purpose, it focuses on less usual questions, such as the analysis of the doctrinal features of Protestantism from which the Weber’s arguments would arise. (shrink)

This chapter contains sections titled: Vitoria Las Casas References Further Reading.

This book not only explicates Stalin's thoughts, but thinks with and especially through Stalin. It argues that Stalin often thought at the intersections between theology and Marxist political philosophy - especially regarding key issues of socialism in power. Careful and sustained attention to Stalin's written texts is the primary approach used. The result is a series of arresting efforts to develop the Marxist tradition in unexpected ways. Starting from a sympathetic attitude toward socialism in power, this book provides us with (...) an extremely insightful interpretation of Stalin's philosophy of socialism. It is not only a successful academic effort to re-articulate Stalin's philosophy, but also a creative effort to understand socialism in power in the context of both the former Soviet Union and contemporary China. ------- Zhang Shuangli, Professor of Marxist philosophy, Fudan University Boer's book, far from both "veneration" and "demonization" of Stalin, throws new light on the classic themes of Marxism and the Communist Movement: language, nation, state, and the stages of constructing post-capitalist society. It is an original book that also pays great attention to the People's Republic of China, arising from the reforms of Deng Xiaoping, and which is valuable to those who, beyond the twentieth century, want to understand the time and the world in which we live. -------Domenico Losurdo, University of Urbino, Italy, author of Stalin: The History and Critique of a Black Legend. (shrink)

SummaryBoth Iberian and Spanish American liberals in the early decades of the nineteenth century based their political stances upon a particular vision of Spanish history. This vision, nourished by the stereotypes of the so-called ‘black legend’, correspond to an extremely gloomy picture of the main events and processes that had been taking place in the Hispanic monarchy since the late fifteenth century, such as the discovery and conquest of America and the outcome of the Comunidades of Castile war. (...) This essay shows how those first Hispanic liberals, many of whom spent several years in exile, hoping to make sense of that period of uncertainty and revolutionary crisis, sought inspiration in the philosophies of history which were beginning to spread from Northern Europe regarding the decisive role of Protestantism in the origins of modernity. In endorsing such a derogatory vision of the history of their own countries, which included an evaluation of Catholicism as a retrograde factor, those liberal writers and politicians bequeathed to their descendants an interpretative framework that would prove to be very long lasting. In fact, much of the political and intellectual historiography on the Iberian world would be conditioned for a long time by a paradigm which described its past as an anomaly in the Euroamerican context, and assumed the subordinate and peripheral position of the region, portrayed as a kind of ‘interior Orient’—that is, as an aberration of Western civilisation. (shrink)

A dominant cultural narrative within Costa Rica describes Costa Ricans not only as different from their Central American neighbours, but it also exalts them as better: specifically, as more white, peaceful, egalitarian and democratic. This notion of Costa Rican exceptionalism played a key role in the creation of their health care system, which is based on the four core principles of equity, universality, solidarity and obligation. While the political justification and design of the current health care system does, in part, (...) realize this ideal, we argue that the narrative of Costa Rican exceptionalism prevents the full actualization of these principles by marginalizing and excluding disadvantaged groups, especially indigenous and black citizens and the substantial Nicaraguan minority. We offer three suggestions to mitigate the self-undermining effects of the dominant national narrative: 1) encouragement and development of counternarratives; 2) support of an emerging field of Costa Rican bioethics; and 3) decoupling health and national successes. (shrink)

This case study is a sociocultural analysis of how Kareem, a young Black man, both constructed a historical narrative and rearticulated two of his racialized identities. Kareem carried out two mediated actions. In the first, he incorporated cultural tools from the classroom—the schematic narrative template of racial progress and the specific narrative of the Movement—to support his thesis that NBA legend Bill Russell advanced the Civil Rights Movement. In the second, he positioned Bill Russell as a model (...) class='Hi'>Black man, drawing on cultural tools forged from his self-identification, his awareness of the racialization of Black men, and his desire to articulate a positive image of them. Data include field notes, audio-recorded conversation, written work, and an interview. The paper concludes with implications of this study for K-12 educators, teacher educators, and researchers: (1) that students’ racialized identities and experiences are cultural tools that can intersect with disciplinary learning; (2) that racialization includes non-racial identities and practices; and (3) that history/social studies curriculum and instruction can facilitate students’ analyses of how narratives function in the learning of the past. (shrink)

1. Legend has it that as Mozart lay dying, a stranger dressed in black entered the room. Without saying word, he walked to the death-bed, removed the manuscript sheets of the Requiem on which the composer had been working until his final hours, and departed. This was not as you might have thought an envoy from beyond—but the servant of a certain Viennese nobleman, Count Walsegg zu Stuppach. The Count was in the habit of commissioning music anonymously, and (...) having it played in his palace as though it were his own. In extremis he was collecting the score for a forthcoming soirée. (shrink)

"An illustrated directory of experimental, Dada and, in particular, Surrealist photography from 1918-1948, containing over 200 photographic images by some 50 revolutionary artists."--P. [4] of cover.

To the question that Kübler-Ross raises in her seminal text, On Death in Dying, “Are we becoming less human or more human?” (Adams 2019), Childers and Arnold highlight physician challenges in balan...

Genetic information and technologies are increasingly important in health care, not only in technologically advanced countries, but world-wide. Several global factors promise to increase future demand for morally conscious genetic health services and research. Although they are the largest professional group delivering health care world-wide, nurses have not taken the lead in meeting this challenge. Insights from feminist analysis help to illuminate some of the social institutions and cultural obstacles that have impeded the integration of genetics technology into the discipline (...) of nursing. An alternative model is suggested - the transdisciplinary model - which was developed initially by a nurse and introduced in the 1970s into the delivery of health care and social services for children with developmental disabilities. This holistic model enables all health care professionals to have an equal voice in determining how genetic health care will be globalized. (shrink)

This chapter delineates the theory of the black or white screen as a force of deterritorialization in minor, or modern political cinema. In the previous chapter I relied on the molar and the molecular for the description of deterritorializations in corporeal and cerebral modern cinema, but here I shift emphasis to the major and the minor. These latter concepts help us to better understand the connection between thought, body, and social milieu. Various impossibilities in the social field create conditions (...) that are enabling for minor filmmaking machines. In terms of abstract machining, a social impasse is not an obstacle or loss; instead, it produces continuous variations that either open relative alternative paths or offer radical lines of flight. I first present an overview of concepts that intersect with minor cinema. I then examine Deleuze's concept of modern political-or minor-cinema as a blended form of "minor(itarian) cinema," the resistant cinema of experimentation that under certain conditions embraces the cinema of minorities. In my discussion of the characteristics of minor cinema borrowed from Deleuze and Guattari's concept of minor literature, I "minorize" typical narrative questions by putting them to flight. In his essay, "One Manifesto Less" (1979), Deleuze defines "less" (in opposition to "more") as a quintessential principle for minor artworks. Following the method of "less," which operates by subtraction and rendition in a minor key, I explore the indefinite coordinates of minor cinema. Specifically, I probe the genetic and cerebral power of the black or white screen as an avatar of "less" in relation to parameters of minor literature and minor cinema such as the connection between the private and the political, collective value of enunciation, and deterritorialization of the major language. (shrink)

The Black Eunuchs of the Ottoman Empire: Networks of Power in the Court of the Sultan. By George H. Junne. London: I. B. Tauris, 2016. Pp. x + 336. £64.

The metamorphosis of human beings into wolves is well known in mythology, legend, and scripture, and has been extensively surveyed in history, theology, and literature. Werewolf cases have attracted the attention of both ancient and modern physicians, particularly during the development of modern psychiatry and behavioral neurology. Some writers have suggested that lycanthropes suffered from schizophrenia or had intentionally or involuntarily ingested hallucinogens. Hysteria and affective disorder, either mania or intense depression, could also be invoked as causes. Lycanthropy has (...) often been linked with, and sometimes treated by, henbane and nightshade, and its manifestations could be explained in terms of atropinic delirium. Discoloration of teeth and urine, bizarre behavior, nocturnal wandering, and episodic skin and facial changes have suggested a role for porphyria in the werewolf transformation. Through many historical periods and cultures, persons believed to be werewolves have reportedly exhibited alterations in consciousness, depersonalization and derealization, acute anxiety and agitation, preoccupation with demonic possession, and compulsive or perseverative behavior, sometimes of a violent, sexually deviant or impulsive nature. Such features of werewolf behavior might also be explained by ictal and interictal manifestations of complex partial seizures, or as symptoms of the episodic dyscontrol syndrome associated with frontal lobe or limbic system disease or injury. Lycanthropy was often considered a manifestation of demonic possession or a consequence or indication of participation in necromancy. As such, self-proclaimed or suspected werewolves were often persecuted along with other practitioners of the black arts. It is generally believed that such persecution represented the last efflorescence of medieval demonology, but it has also been suggested that clinical description of illnesses of diabolical origin was part of the evolution of Renaissance medicine from the Galenic past toward the scientifically-based future. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Sacrificial Ram and the Swan QueenMimetic Theory Fades to BlackBrian Collins (bio)“We speak of a ‘black’ mirror. But where it mirrors, it darkens, of course, but it doesn’t look black, and that which is seen in it does not appear ‘dirty’ but ‘deep.’”—Ludwig Wittgenstein, Remarks on ColorThis paper explores the ways in which male and female bodies become the sites of mimetic desire and ritual violence (...) in Darren Aronofsky’s two companion films The Wrestler (109 min, Wild Bunch, 2008, DVD) and Black Swan (108 min, Fox Searchlight, 2010, DVD). Both films (which were originally intended to be one film, explaining their thematic consistency)1 share three elements. First, both explore cultural forms, wrestling and dance, respectively, that punish the body of the performer in a spectacular way. Second, both films end with the ritualistic dying (if not the death) of the main character. Third, in both films, this dying is accompanied by a kind of transformation that can only be called “becoming-animal.”2 Though this last point is much easier to demonstrate [End Page 207] in the case of Black Swan, I will argue that this is also true for The Wrestler. In interpreting these films, I will rely mainly on René Girard’s ideas about mimetic desire and the surrogate victim mechanism, supplemented by Slavoj Žižek’s notion of symbolic death. Symbolic death or “second death” is Žižek’s Hegelian appropriation of the psychoanalytic death drive. The death drive holds a special place for Girard, since he considers Freud’s formulation of the death drive his admission that the Oedipal complex cannot explain the compulsion to repetition, an admission for which he credits Freud’s honesty. In this paper, I demonstrate that pseudo-masochism, Girard’s alternate theory of repetition, and the Žižekian second death are both present in Black Swan and The Wrestler, and that each film plays on the animal/human distinction and ritual transformations of the body to explore these themes.Part One: The Sacrificial Ram“The function of the wrestler is not to win: it is to go exactly through the motions which are expected of him.”—Roland Barthes, “The World of Wrestling,” MythologiesThe Pseudo-Masochistic Body I: Becoming-RamWilliam Golding’s novel Pincher Martin: The Two Deaths of Christopher Martin (London: Faber and Faber Limited, 1956) follows a bitter, selfish, and intransigent sailor who finds himself clinging to a rock in the middle of the ocean, the sole survivor of a shipwreck, only to slowly learn that he is not a survivor at all, but is rather trapped like a character from The Twilight Zone in the utter loneliness of the timeless time between his titular “two deaths.” The first death comes when Martin goes down with his ship and the second comes when he is annihilated (possibly; the ending is ambiguous) by the “black lightning,” which Terry Eagleton identifies in his analysis of the book as “the fire of God’s ruthless love, which burns up those who cannot bear it.” Martin’s misotheism is his last defense against the terrifying power of love, and he continues to defy God as the black lightning engulfs him.3 Why the two deaths? Martin is unable to die properly the first time, Eagleton argues, “because he is incapable of love. Only the good are capable of dying. Martin cannot yield himself up to death because he has never been able to yield himself up to others in life.”4 [End Page 208]Randy “The Ram” Robinson, born Robin Ramzinski, (Mickey Rourke), the protagonist of The Wrestler, is, like Pincher Martin, between two deaths, isolated from the rest of humanity because of his inability to connect with others. But while Pincher Martin is defiant and bound for a self-created Hell because of his deliberate rejection of love, Ram is a much more sympathetic character—though no less doomed—because he tries but fails time after time to accept the love of those who could save him. Pincher Martin’s self-created internal obstacle is his hatred of God, externalized through his encounter with the black lightning. But in Ram’s case... (shrink)

Black Utopias posits a concept of utopia made possible by black people's exclusion from the human and expressed through the ecstatic practices, community creation, speculative fiction and music. Jayna Brown explores the practices and works of 19th century black women mystics as well as 20th century musicians and speculative fiction writers including mystics Sojourner Truth and Rebecca Cox Jackson, musicians Alice Coltrane and Sun Ra, and writers Samuel Delany and Octavia Butler.

This essay seeks to show the divergence of real and virtual communication codes by means of analyzing Charlie Brooker’s dystopian series Black Mirror, in respect of the influence of new communication technologies and gadgets in the form of bodily extensions. It draws on both recent sociopolitical phenomena and sociological findings to undermine why and how the speculative fiction of Black Mirror displays the characters’ engagement in their environs as inherently obscene, and at same time mirrors the recent developments (...) that are looming ahead in the future which makes the series prophetical rather than merely dystopian in its outlook. (shrink)

The goal of our work is to explore and highlight factors that contribute to positive experiences of Black employees. To accomplish this, we integrate behavioral ethics research into the Black scholarship literature. Specifically, we focus on the role of ethical leadership. We leverage signaling theory to explain the Black cultural implications associated with ethical leadership and how ethical leaders create racially just workplaces. Across three studies (i.e., one cross-sectional field study and two experimental vignettes), we demonstrate that (...) ethical leadership operates as a welcoming signal for Black employees, which positively impacts Black employees’ evaluations of psychological diversity climate. By cultivating Black employees’ evaluations of psychological diversity climate, Black employees are more likely to be engaged and are less likely to be ostracized in the workplace, which are key indicators of a racially just workplace. Theoretical and practical implications are discussed. We conclude with limitations and future research ideas. (shrink)