I reinterpret the experiences and perceptions of child migrants through the lens of racialization and White Supremacy by advancing work by Cheryl Harris (1993) and Lisa Guenther (2019) on the critical phenomenology of “Whiteness as Property” (WaP) and the protection of “White Space.” WaP is “the collective investment in state violence” to protect the economic, territorial, and legal privileges of Whiteness, while White Space describes its two dimensions: “enclosure and territorial expansion” (Guenther 2019, 202). I build on (...) this foundation by examining the way WaP regulates sociogenic3 and emotive states in order to protect its accrued resources, resulting in an “economy” of racial identity where ownership produces and is produced by particular societal structures and relationships. I use these concepts to understand the framework that willfully misinterprets racialized children. I establish “the Child” as a sociogenic concept and symbol of national futurity and universalism, and therefore of the futurity and universalism of Whiteness; reiterating and interrogating the inconsistency that many immigration and child activists point to, that there is no such thing as an “illegal” or racialized child. Thus, the ICM either loses the privileges and protections afforded to children or must don the White Mask through a performance of victimhood. Through this framework, I undertake an examination of the ICMs as portrayed in the legal process using tools from legal sensorial studies and critical phenomenology, demonstrating the sociogenic shifts that occur for the ICM and how these shifts work to protect WaP. (shrink)

This piece argues that Fanon’s Black Skin, White Masks inscribes the social and psychological experience of the African Diaspora within the conceptual purview of the western sciences by the means of psychoanalytical and philosophical concepts. The upshots of Fanon’s goal are twofold. Its first implication is that in employing psychoanalytical and philosophical lingo, Fanon commits to delineating a distinct tenet of self-determination for the African Diaspora. Such tenet of self-determination consists in a set of norms, beliefs, socio-cultural, (...) and political practices. Secondly, besides the stated goal in the Introduction, namely to ‘liberate the black individual from herself,’ Fanon is attempting to alter the European perception of black communities as sexual and biological threats. Accordingly, this piece concludes that Fanon’s successful inscription of the psychological and lived experiences of the African Diaspora in the western sciences, via his psychoanalytical and philosophical rendition, is hampered by the European perception of black bodies which prevents their complete scientific conceptualization. (shrink)

Attention to the role of phenomenology in Frantz Fanon’s Black Skin, White Masks is fundamental to an appreciation of the book’s progressive structure. And it is through an appreciation of this structure that it becomes apparent that the book’s engagement with phenomenology amounts to an enrichment, not a critique, of existential phenomenology, although the latter might appear to be the case at first sight, given Fanon’s rejection of certain aspects of Jean-Paul Sartre’s “Black Orpheus.” This is demonstrated (...) through an examination of Fanon’s references to Sartre, Günther Anders, and Maurice Merleau-Ponty in the book’s final crucial pages on temporality. His largely neglected relation to Karl Jaspers and the concept of historicity is also explored. (shrink)

ABSTRACT This article excavates the meaning of Fanon’s declaration against Sartre in Black Skin, White Masks, “between the white man and me the connection was irremediably one of transcendence,” which is attached to a footnote that has received little attention from Fanon’s commentators: “In the sense in which the word is used by Jean Wahl in Existence humaine et transcendence.” The goal of this article is to clarify what Wahl meant by “transcendence,” and what such a (...) conception might tell us about Fanon’s disagreement with Sartre and his view of dialectics more broadly. Ultimately, the article shows that Wahl, following Kierkegaard, conceives of transcendence as a relationship of qualitative difference, which is constitutive of our subjectivity. It is thus this relationship of difference, of a nonreciprocal exclusion that cannot be sublated, that Fanon posits between white and Black. (shrink)

In this paper, I focus on the representations of Black women in contrast to Black men found within Frantz Fanon’s philosophical work Black Skin, White Masks. I propose that while Fanon’s racial dialectical work is very significant, he often lacks acknowledgment of the multidimensionality of the Black woman’s lived experience specifically. Drawing on the theory of intersectionality, coined by Kimberlé Crenshaw, I argue that Fanon does not recognize the different layers of oppression operating in Black women’s lives (...) to the degree that he fails to include them within his framework of both liberation and resistance from racial oppression. (shrink)

This essay provides a subtly new reading of Frantz Fanon's Peau noire, masques blancs through a re-examination of one of its key terms: noirceur, or ‘blackness’. Whi...

In Black Skin, white masks, Franz Fanon uses a psychoanalytic framework to theorize the inferiority-dependency complex of Black men in response to the colonial racism of white men. Applying his framework in reverse, this theoretical article psychoanalyzes the white psyche and emotionality with respect to the racialization process of whites and their racial attachment to Blackness. Positing that such a process is interconnected with narcissism, humanistic emptiness, and psychosis, this article presents how racial attachment becomes (...) racial fetish. Such a fetish reifies whiteness by accumulating fictive kinships with friends of color; hence, the common parlance of ‘But I have a Black friend!’ The article, then, overlays this theoretical interpretation onto the subject of teacher education in the US, specifically urban teacher education programs that are predominantly comprised of white middle-class females who claim a desire to ‘save’ urban students of color. Ending with the dangers and hopes of a more humanistic friendship, this article offers emotional ways one can self-actualize the racialization process. (shrink)

"Life must be something more than dilettante speculation. And religion a great deal more than mere gratification of the instinct for worship linked with the straight-teaching of irreproachable credos. Religion must be life made true, and life is action, growth, development—begun now and ending never."In September 2016, a first-year student at East Tennessee State University interrupted a Black Lives Matter protest on campus, parading in a gorilla mask. Clad in overalls and barefoot, the young man offered bananas to the protesting (...) students, heckling them.2 When set within a wider historical context, this student's actions evoke a legacy of intimidation in which perceived differences... (shrink)

Frantz Fanon’s analysis of white negrophobic women’s masochistic sexuality and sexual fantasies in Black Skin, White Masks, is, as T. Denean Sharpley-Whiting notes, among his most contentious work for feminists. Susan Brownmiller, in her 1975 classic Against Our Will: Men, Women and Rape, charges Fanon not only with hating women but also with being personally confused and anguished, on account of this portion of the text. In this essay, I examine Fanon’s approach to theorizing white (...) female negrophobia in light of his sociogenic project and the Freudian psychoanalytic tradition with which he was working; I also take a close look at his potentially most problematic remarks, from a feminist angle. I argue against Brownmiller's interpretation of Fanon as condoning rape or expressing personal attitudes through these lines, maintaining instead that he is ultimately calling for psycho-affective change. (shrink)

Frantz Fanon’s analysis of white negrophobic women’s masochistic sexuality and sexual fantasies in Black Skin, White Masks, is, as T. Denean Sharpley-Whiting notes, among his most contentious work for feminists. Susan Brownmiller, in her 1975 classic Against Our Will: Men, Women and Rape, charges Fanon not only with hating women but also with being personally confused and anguished, on account of this portion of the text. In this essay, I examine Fanon’s approach to theorizing white (...) female negrophobia in light of his sociogenic project and the Freudian psychoanalytic tradition with which he was working; I also take a close look at his potentially most problematic remarks, from a feminist angle. I argue against Brownmiller's interpretation of Fanon as condoning rape or expressing personal attitudes through these lines, maintaining instead that he is ultimately calling for psycho-affective change. (shrink)

Frantz Fanon’s analysis of white negrophobic women’s masochistic sexuality and sexual fantasies in Black Skin, White Masks, is, as T. Denean Sharpley-Whiting notes, among his most contentious work for feminists. Susan Brownmiller, in her 1975 classic Against Our Will: Men, Women and Rape, charges Fanon not only with hating women but also with being personally confused and anguished, on account of this portion of the text. In this essay, I examine Fanon’s approach to theorizing white (...) female negrophobia in light of his sociogenic project and the Freudian psychoanalytic tradition with which he was working; I also take a close look at his potentially most problematic remarks, from a feminist angle. I argue against Brownmiller's interpretation of Fanon as condoning rape or expressing personal attitudes through these lines, maintaining instead that he is ultimately calling for psycho-affective change. (shrink)

I begin and conclude the article by arguing that culturalisation has contributed significantly to the decline of the Left and its universal ideals. In the current climate of public opinion, ‘race’ is no longer used, at least openly, as a scientific truth to justify racism. Instead, ‘culture’ has become the mysterious term that has made the perpetuation of racist discourse possible. ‘Culture’, in this newracist worldview, is the unquestioned set of traits continually attributed to the non-White Other, essentially to (...) de-world her Being and de-individualise her personhood. In other words, ‘culture’, as it is used in the old anthropological sense, is the magic incantation with which the Other is demonised, mystified, and/or ridiculously oversimplified. I focus on the phenomenon of ‘culturalisation’ as a common new-racist method of de-politicising the Other’s affairs and surrounding socio-political phenomena. The article is an attempt to discredit the paradigm of ‘culture’ as a pseudo-concept used commonly in cultural racism. This cultural racism routinely assumes ‘culture’ to be a natural given almost exactly as the pseudo-scientific paradigm ‘race’ was (and is still) used in some discourses of biological racism. If mentality X attributes categorical differences to different groups of people based on A and A is assumed to be natural, ahistorical, and/or metaphysical, then X is a racist mentality. Obviously, A does not have to be skin-color or ‘blood’ in order for X to be racist. (shrink)

Frantz Fanon's Black Skin, White Masks is an analysis of lived experience, experiences supported or inhibited by our group, and individual interactions with the world. Present in the text is an accounting of the lived experiences of Negrophobic white males. Fanon argues that Negrophobic white males live their bodies and their worlds inauthentically, as improperly limited possibilities. He finds that the Negrophobic white male's body operates as a body of “structural harmony.” The Negrophobe tries (...) to use his interactions with others to delude himself into believing that his body is the pinnacle of agency. The Negrophobe is troubled by guilt. Projecting, what he sees as, his socially acceptable characteristics onto fellow white males and projecting, what he sees as, his socially unacceptable characteristics onto black males allows the Negrophobic white male to perpetuate the lie that he is the pinnacle of innocence. Removing this mythical blackness into the background of his world would allow the Negrophobe to exist in a world that is all white. He would be white. All of the Other people in this world would be white. And, they would all be innocent. In this world the prevalence of whiteness would mean that the Negrophobe and his guilt could not be seen because everyone would be suffering from snow-blindness. (shrink)

A critical engagement with Black Skin, White Masks in the wake of social construction theory and controversies over critical race theory.

I counter a tendency in critical phenomenology to read Frantz Fanon as derivative upon, indeed reducible to, other (European) phenomenologies, eliding the originality and contemporaneity of his method. I propose it is time to read phenomenology through Fanon, instead of centering analysis on his assumed debt to Maurice Merleau‐Ponty's body schema. Fanon reconfigures and ungrounds phenomenology in Peau noire, masques blancs (Black Skin, White Masks). I show how he creates his own method through an anticolonial phenomenology of (...) touch and affect that breaks with the perceptual spectacle at the center of most phenomenologies before him. I read Fanon's “toucher du doigt”—in contrastive relation to Edmund Husserl's touch‐sensings—to define a phenomenology that dwells with colonial wounding and holds the memory of a “burning” colonial duration. This is to say that Fanon's phenomenology is not mere description; rather, Fanon invents a critical, distinctly temporal, and anticolonial method from the affective territory in which he has had to dwell. This method addresses the conditions of possibility for doing (critical) phenomenology. Fanonian phenomenology makes tangible the (de)structuring violence through which colonialism ontologizes itself, while providing tools to dwell with the wounding and critically mine it—to create possibilities for living otherwise than what colonialism makes of us. (shrink)

Frantz Fanon offers a lucid account of his entrance into the white world where the weightiness of the ‘white gaze’ nearly crushed him. In chapter five of Black Skins, White Masks, he develops his historico-racial and epidermal racial schemata as correctives to Merleau-Ponty’s overly inclusive corporeal schema. Experientially aware of the reality of socially constructed (racialized) subjectivities, Fanon uses his schemata to explain the creation, maintenance, and eventual rigidification of white-scripted ‘blackness’. Through a re-telling of (...) his own experiences of racism, Fanon is able to show how a black person in a racialized context eventually internalizes the ‘white gaze’. In this essay I bring Fanon’s insights into conversation with Foucault’s discussion of panoptic surveillance. Although the internalization of the white narrative creates a situation in which external constraints are no longer needed, Fanon highlights both the historical contingency of ‘blackness’ and the ways in which the oppressed can re-narrate their subjectivities. Lastly, I discuss Fanon’s historically attuned ‘new humanism’, once again engaging Fanon and Foucault as dialogue partners. (shrink)

In Black Skin, White Masks Frantz Fanon discusses the neurotic condition that typifies the oppressed black subject, their 'psychoexistential complex'. He argues that this neurotic condition is closely related to another, the 'psychoexistential complex' of the white oppressor. Both of these complexes sustain and are sustained by social and economic injustice. But Fanon does not delve in detail into the nature of this second neurosis, for he was primarily interested in discussing this neurosis only insofar as (...) it helps him understand the first. My aim in this paper is to provide an account of the white neurosis, and why it should be understood literally as a neurotic condition. Typical, white oppressors, not solely those who are militantly committed to oppressing others, are alienated from the world and from themselves, making their behaviour seem like that of soulless dolls, to use J.M. Coetzee's image from Age of Iron. (shrink)

Abstract:In Red Skin, White Masks: Rejecting the Colonial Politics of Recognition, Glen Coulthard argues that since 1969, colonial power relations in Canada have shifted from an unconcealed structure of domination to a mode of colonial governance that operates through state recognition and accommodation. He instead looks to identify a type of recognition based on self-affirmation and self-recognition rather than state acceptance. Following Coulthard, I examine movements created to affirm oppressed groups in the context of anti-Semitism and anti-Blackness (...) in the mid-twentieth century and explore possible limitations of such movements, including the erasure or elision of complex intersections of identity. I then draw upon self-compassion, a mental health and wellness approach, as a potential framework for the affirmative politics Coulthard theorizes. Subsequently, I consider whether such a framework offers a mechanism to provide the self-affirmation and recognition that Coulthard identifies as vital to resisting oppression. I ultimately explore how understanding music as cultural production in music education might engender this affirmative politics to facilitate rich affirmation and validation of students and educators to musically imagine different possible futures. (shrink)

In this paper, I explore some of the temporal structures of racialized experience – what I call racialized time. I draw on the Martiniquan philosopher and psychiatrist Frantz Fanon, in particular his book ‘Black Skin, White Masks,’ in order to ask how racism can be understood as a social pathology which, when internalized or ‘epidermalized,’ may result in aberrations of affect, embodiment and agency that are temporally lived. In this regard, I analyze the racialized experience of coming (...) ‘too late’ to a world predetermined in advance and the distorted relation to possibility – the limitation of playfulness and imaginative variability – that defines this sense of lateness. I argue that the racialization of the past plays a structuring role in such experience. Racialization is not limited to the present, but also colonizes and reconfigures the past, splitting it into a duality of times: one open and civilizational, the other closed, anachronistic and racialized. To understand this colonial construction of the past, I draw on the work of Latin American thinker Aníbal Quijano. (shrink)

One of the signal developments in contemporary criticism over the past several years has been the ascendancy of the colonial paradigm. In conjunction with this new turn, Frantz Fanon has now been reinstated as a global theorist, and not simply by those engaged in Third World or subaltern studies. In a recent collection centered on British romanticism, Jerome McGann opens a discussion of William Blake and Ezra Pound with an extended invocation of Fanon. Donald Pease has used Fanon to open (...) an attack on Stephen Greenblatt’s reading of the Henriad and the interdisciplinary practices of the new historicism. And Fanon, and published interpretations of Fanon, have become regularly cited in the rereading of the Renaissance that have emerged from places like Sussex, Essex, and Birmingham.1My intent is not to offer a reading of Fanon to supplant these others, but to read, even if summarily, some of these readings of Fanon. By focusing on successive appropriations of this figure, as both totem and text, I think we can chart out an itinerary through contemporary colonial discourse theory. I want to stress, then, that my ambitions here are extremely limited: what follows may be a prelude to a reading of Fanon, but does not even begin that task itself.2 1. See Jerome McGann, “The Third World of Criticism,” in Rethinking Historicism: Critical Readings in Romantic History, ed. Marjorie Levinson et al., pp. 85-107, and Donald Pease, “Toward a Sociology of Literary Knowledge: Greenblatt, Colonialism, and the New Historicism,” in Consequences of Theory, ed. Barbara Johnson and Jonathan Arac.2. A properly contextualized reading of Fanon’s Black Skin, White Masks, the text to which I most frequently recur, should situate it in respect to such germinal works as Jean-Paul Sartre’s Réflexions sur la question Juive, Dominique O. Mannoni’s Psychologie de la colonisation, Germaine Guex’s La Névrose d’abandon, as well as many lesser known works. But this is only to begin to sketch out the challenge of rehistoricizing Fanon. Henry Louis Gates, Jr. is coeditor of Transition, a quarterly review, and the author of Figures in Black and The Signifying Monkey, which received an American Book Award. (shrink)

This essay asks after the lateness that affectively structures Fanon's phenomenology of racialized temporality in Black Skin,White Masks. I broach this through the concepts of possibility, “affective ankylosis”, and by taking seriously the dismembered past that haunts Fanon's text. The colonization of the past involves a bifurcation of time and of memory. To the “burning past,” wherein colonized experience is stuck and to which we remain sensitive, is contrasted the colonial construction of white, western time as (...) progressive and futural—a construction that relies on the very indifference, ankylosis, and closure of this time to the multiple, lived temporalities of colonized others. (shrink)

With the flowering of postcolonialism, we return to Frantz Fanon, a leading theorist of the struggle against colonialism. In this thorough reinterpretation of Fanon's texts, Ato Sekyi-Otu ensures that we return to him fully aware of the unsuspected formal complexity and substantive richness of his work. A Caribbean psychiatrist trained in France after World War II and an eloquent observer of the effects of French colonialism on its subjects from Algeria to Indochina, Fanon was a controversial figure--advocating national liberation and (...) resistance to colonial power in his bestsellers, Black Skin, White Masks and The Wretched of the Earth. But the controversies attending his life--and death, which some ascribed to the CIA--are small in comparison to those surrounding his work. Where admirers and detractors alike have seen his ideas as an incoherent mixture of Existentialism, Marxism, and psychoanalysis, Sekyi-Otu restores order to Fanon's oeuvre by reading it as one dramatic dialectical narrative. Fanon's Dialectic of Experience invites us to see Fanon as a dramatist enacting a movement of experience--the drama of social agents in the colonial context and its aftermath--in a manner idiosyncratically patterned on the narrative structure of Hegel's Phenomenology of Spirit. By recognizing the centrality of experience to Fanon's work, Sekyi-Otu allows us to comprehend this much misunderstood figure within the tradition of political philosophy from Aristotle to Arendt. Reviews of this book: "The goal of this often brilliant and always engaging book is to 'read Fanon's texts as though they formed one dramatic dialectical narrative'; the principal subject of this dramatic narrative, according to Sekyi-Otu, is 'political experience'. It is his deployment of a dialectical analysis of Fanon's 'dramatic personae' that permits Sekyi-Otu's fresh and insightful readings to take place." DD--Anthony C. Alessandrini, Minnesota Review "Ato Sekyi-Otu departs from the postmodernist paradigm and ushers in an alternative hermeneutic that primarily considers Fanon's texts as forming 'one dramatic dialectical narrative,' that is a narrative whose complexity is correlative of the intricate configurations of African social experience during the post-independent era...[His] book is an invaluable contribution that offers broader scope for a new appreciation of Fanon's political thinking." DD--Marc Mve Bekale, Revue AFRAM Review [UK] "[I]mportant...The author succeeds in...revealing the complexity and nuanced character of Fanon's thought." DD--Choice "Those who would dismiss or exult Fanon as the high priest of revolutionary violence will be chastened by this patient and completely convincing exposition of his work. Sekyi-Otu produces a reflexive, 'Gramscian' Fanon who, working as a 'detective of the politics of truth,' has produced insights that need to be taken over into the core of democratic political thought." DD--Paul Gilroy, University of London. (shrink)

Abstract:This article defends the idea that colonialism still has a grasp on a valuable tool in the construction of our reality: memory. Developments in cognitive neuroscience and interdisciplinary memory studies propose that memory is far more creative and tied to one's imaginal capacities than we used to believe, suggesting that remembering is not simply a reproductive process, but a complex reconstructive process. Drawing on the psychiatric works of Frantz Fanon, in Alienation & Freedom; Black Skin, White Masks; (...) and Wretched of the Earth, this article seeks to illustrate the ways in which colonialism continues to be involved in this reconstructive memory process. Colonialism has affected both episodic memories, the kind we have as individuals regarding our own past, and collective memories, the intersubjective shared narratives we possess in our societies. I argue that dominant collective memories ought to be rejected as a means of self-preservation for racialized individuals because these memories do not do justice to the violence of colonialism. Nevertheless, rejection of dominant collective memories comes at a significant personal cost in our societies, as it creates a traumatic loop for racialized individuals. I propose that psychiatry itself plays an instrumental role in the alienation experienced by racialized individuals because psychiatry has not yet appreciated the ways in which colonialism continues to have a hold on memory. Piecing together a theory of remembering in Fanon's texts, this article suggests that this cycle of alienation can be broken, if psychiatrists incorporate Fanon's insights regarding memory into their practice. (shrink)

I develop a phenomenological account of racialized encounters with works of art and film, wherein the racialized viewer feels cast as perpetually past, coming “too late” to intervene in the meaning of her own representation. This points to the distinctive role that the colonial past plays in mediating and constructing our self-images. I draw on my experience of three exhibitions that take Muslims and/or Arabs as their subject matter and that ostensibly try to interrupt or subvert racialization while reproducing some (...) of its tropes. My examples are the Jean-Joseph Benjamin-Constant exhibition at the Montreal Museum of Fine Arts (2015), the exposition Welten der Muslime at the Ethnologisches Museum in Berlin (2011–2017), and a sculpture by Bob and Roberta Smith at the Leeds City Art Gallery, created in response to the imperial power painting, General Gordon’s Last Stand, that is housed there. My interest is in how artworks contribute to the experience of being racialized in ways that not only amplify the circulation of images but also constitute difficult temporal relations to images. Drawing on Frantz Fanon’s Black Skin, White Masks, I argue that such racialized images are temporally gluey, or stuck, so that we are weighted and bogged down by them. This essay received Honorable Mention from the American Society for Aesthetics Feminist Caucus Committee in the Feminist Research Essay prize in 2020. (shrink)

Across contexts and time, subjects marked by racial difference have expressed public accounts of the multiple injuries of race. From the vantage point of critical race and black theory, this paper sheds light on both the heuristic and critical political values of such accounts. The first part critically reassesses conceptualizations of vulnerability as an ambivalent ontological condition within critical approaches to liberalism. A close reading of Fanon's account of injury in Black Skin, White Masks specifies how race (...) exploits bodily and enunciative vulnerability and materializes subjects into a state of suspension and suspicion. The second part addresses the political promise of accounts of racialized injury. Departing from sceptical readings of “wounded attachment,” critical race and black analyses associate accounts of injury with citational practices that pertain to historically entrenched conventions of resistance to racial and colonial abusive power. Such accounts can be read as misappropriations of race which expand the horizon of the human. (shrink)

This article explores Fanon's thought on dance, beginning with his explicit treatment of it in Black Skin, White Masks and The Wretched of the Earth. It then broadens to consider his theorization of Black embodiment in racist and colonized societies, considering how these analyses can be reformulated as a phenomenology of dance. This will suggest possibilities for fruitful encounters between the two domains in which (a) dance can be valorized while (b) opening up sites of resignification and (...) resistance for Black persons and communities-including a revalorization of Black embodiment as a kind of empowering danced experience. (shrink)

The half-century, which is the time that has elapsed since the publication of Wretched of the Earth , seems such a short period when one imagines its author in all his intellectual magnificence, his anguish, and the many details we all know of his short-lived reality. Dare one say, after the concept has long been declared “dead” that we imagine him as having been a live “author”? As I write this, the idea of various notable intellectuals and revolutionary movements could (...) come to mind in order for them to serve as interesting comparisons as we discuss and remember Fanon, his analyses of the colonial aftermath, and his many predictions, both explicit and implicit. However, the “death” of the author is, in fact, as Barthes’ polemical essay showed, a premise that empowers the text in its full potentiality well beyond the deism by which the identity of the author becomes the authority. Here, the liberation of the text joins up the enunciation with its “content” so to speak, or in Barthes’ words, reveals how Fanon “made of his very life a work for which his book was a model.” It is from this idea that I wish to see Fanon as incomparable. The reason to do so does not stem from some esoteric form of admiration, but rather a conviction that Fanon’s narration itself is both indicative and exemplary of a process of thinking that, for me, remains unparalleled in theorizing the role of the intellectual. Such a conviction requires us to read beyond the content of Wretched and be “reborn” in the Barthesian sense as readers. In essence, it is to simply follow the way Fanon himself allows us to actually trace how he dreams of “the native” or “the people” and thus accomplishes an affective leap, arguably, more completely than any other intellectual. This reading is, thus, an invitation to dream – even momentarily – of Fanon. (shrink)

I argue that the temporality of colonialism is a disabling duration. To elaborate, I focus on a site in Frantz Fanon’s Black Skin, White Masks where disability/debility and racism intertwine – Fanon’s refusal of “amputation” in his experience of cinema. While such disability metaphors have been problematized as ableist, I argue that amputation is more than a metaphor of lack. It extends what racializing debilitation means and makes tangible the prosthetics that colonialism imposes and the phantoms and (...) affects of colonized life that it attempts to sever. Engaging with disability studies, especially Black and anticolonial theories, I articulate racism and (dis)ability as more than parallel or analogy and conceptualize a debilitating colonial duration, as instanced in our pandemic time. By reconfiguring the possibilities foreclosed through colonialism, I ask what routes there may be to make colonial duration hesitate and destabilize its inevitability, while dwelling with its wounds and ruptures. (shrink)

Violence is a necessary factor in Frantz Fanon's concept of anti-colonial freedom. What does Fanon mean by violence? Why does he think violence is necessary or good? Is he correct? This article defends the opening statement through an exegesis of primary and secondary literature on Fanon, Jean-Paul Sartre, violence, and freedom. Fanon's The Wretched of the Earth is the central text under analysis. References to Black Skin, White Masks and A Dying Colonialism receive critical scrutiny only in (...) relation to Fanon's overall theory of violence and freedom. I argue that Fanon views violence as intrinsically valuable in the anti-colonial struggle for freedom. (shrink)

The problem of change recurs across Frantz Fanon's writings. As a philosopher, psychiatrist, and revolutionary, Fanon was deeply committed to theorizing and instigating change in all of its facets. Change is the thread that ties together his critical dialogue with Hegel, Marx, Freud, and Nietzsche and his intellectual exchange with Césaire, Kojève, and Sartre. It informs his analysis of racism and colonialism, négritude and the veil, language and culture, disalienation and decolonization, and it underpins his reflections on Martinique, Algeria, the (...) Caribbean, Africa, the Third World, and the world at large. Gavin Arnall traces an internal division throughout Fanon's work between two distinct modes of thinking about change. He contends that there are two Fanons: a dominant Fanon who conceives of change as a dialectical process of becoming and a subterranean Fanon who experiments with an even more explosive underground theory of transformation. Arnall offers close readings of Fanon's entire oeuvre, from canonical works like Black Skin, White Masks and The Wretched of the Earth to his psychiatric papers and recently published materials, including his play, Parallel Hands. Speaking both to scholars and to the continued vitality of Fanon's ideas among today's social movements, this book offers a rigorous and profoundly original engagement with Fanon that affirms his importance in the effort to bring about radical change. (shrink)

In the first part of this essay, in order to grasp the complex and ambivalent relation of Fanon with negritude, I will recover the context from which emerged the ideology of negritude by focusing on the views of Léopold Senghor and the ways in which these views determined Sartre's interpretation of the movement. I will also examine Sartre's Black Orpheus and the influence it had on Fanon, especially on his Black Skin, White Masks. In the second part, (...) I will adumbrate Fanon's critique of the advocates of negritude, whom he refers to as 'men of culture', who fell back on archaic cultural practices far removed from the political realities of their colonized societies. In the third section, I will turn to Memmi's critique of Fanon with a view to establishing two points: first, Memmi misreads Fanon's rejection of negritude as a failure on the part of Fanon to 'return to self'; second, far from being an oppositional post-modern figure whose work is rife with contradiction, I will argue that the political project of Fanon is consistently Sartrean, despite his disagreement with Sartre on some issues. (shrink)

Viewed from some postcolonial/postmodern perspectives by employing mostly the micropolitics of Homi Bhabha’s and Gilles Deleuze (and other theorists who hold similar conceptions), whose major common interest lies in dismantling the myth of establishing an imagined community by retrieving a shared national history/culture and assuming ethnic purity, this paper seeks to explore the paradoxical aspects of Taiwan’s quest in her decolonizing progress for a “collective” national/cultural identity. Besides, this paper compares mostly Taiwan’s decolonization process with South Korea’s because of their (...) similarity in territorial division due to some civil wars and the intervention of external powers (e.g., the former Soviet Union and U.S.A.). By so doing, this paper aims to propose some solution to Taiwanese’s dilemma in constructing a “collective” national /cultural identity. (shrink)

Body image and body schema refer to two different yet closely related systems. Whereas BI can be defined as a system of perceptions, attitudes, and beliefs pertaining to one's own body, BS is a system of sensory-motor capacities that functions without awareness or the necessity of perceptual monitoring. Studies have demonstrated that applying the concepts of BI and BS enables us to conceptualize complex pathological phenomena such as anorexia, schizophrenia, and depersonalization. Likewise, it has further been argued that these concepts (...) play a crucial role in our ability to grasp our bodily experiences in the socio-cultural world according to various factors, such as gender, social class, and ethnicity. Referring to the insights of Frantz Fanon, the author of Black Skin, White Masks, this paper suggests that under certain conditions the BI can take over and reshape the BS. Based on an examination of Fanon’s writings, the paper suggests that not only the BI can truly remold the BS but that the gaze of the other can directly influence the BI. (shrink)

Nearly forty years after his death, social philosopher Frantz Fanon remains a towering intellectual figure. Born in Guadeloupe and trained as a psychologist in France, Fanon rejected his French citizenship to join the Algerian liberation movement in the 1950s. A brilliant scholar who developed the theory that some neuroses are socially generated, Fanon's revolutionary works—The Wretched of the Earth, Toward the African Revolution, and Black Skin, White Masks—spurred an African intellectual awakening. The rebirth of Fanonism today in (...) universities and the English-speaking world is a testament to his relevance. Edited by distinguished African-studies professor Nigel C. Gibson, Rethinking Fanon opens with an authoritative biography which corrects fallacious assertions about Fanon's life, situating him in Marxism, Negritude, Pan-Africanism, and the historical context of postwar decolonization, specifically the Algerian revolution. Section one is highlighted by extended discussions of Marx, Fanon's theories on sophisticated forms of cultural racism, and "true liberation." The next section examines Fanon's humanist philosophy, his philosophical and geographical journeys, and his attitude toward the necessity of revolution. Also included is Homi Bhabha's well-known essay "Remembering Fanon," which contemplates the seeming rejection of Fanon in Britain in the 1970s, in contrast to his major following in America and the influence of Fanon on South African writer Steven Biko. Henry Louis Gates Jr. and Edward Said discuss the importance of the 1980s' and 1990s' cultural and literary debates on Fanon. Gates notes that Fanon has been reinstated -not as a global theorist of "third world" revolution, but instead as a critic of English writers and British romanticists. Benita Parry reexamines African nationalism and liberation, and sheds new light on Fanon's questions of identity and agency. This excellent collection reflects the continuing impact of Fanon's thought on African-American and African studies, feminism, postcolonialism, and cultural studies. (shrink)

In this article I put forward an interpretation of what is at stake in Frantz Fanon's claim that there is a reciprocity at the basis of G. W. F Hegel's master-servant dialectic. I do this by staging a critique of the ‘shared-humanity’ interpretation of Fanon's claim. Fanon's problem, as this interpretation understands it, is that the master-servant dialectic describes a situation in which two human beings knowingly confront one another as such. Such a situation—because human-to-human confrontation is assumed—does not adequately (...) describe a racially divided situation because of racism's dehumanizing force. Fanon's problem would thus be that Hegel assumed shared humanity. I contest this reading by claiming that Fanon's issue is not reciprocal humanity but reciprocal struggle. To get to this point requires demonstrating that the shared-humanity reading is implausible on a variety of grounds. Thanks to the work of Philippe Van Haute it can already be said that in Hegel's text no shared humanity takes place. But Van Haute nevertheless claims that the shared-humanity problem is present in Kojève. Thus, it first needs to be shown that Kojève's text disallows such a reading. With this result in hand, I move to show the textually unsupportable nature of a subset of the shared-humanity reading—the ‘ontological reading’—whose strategy of reading Fanon's Black Skin, White Masks obscures the Sartrean-Beauvoirian commitments which would in fact allow a more accurate reading of Fanon's claims about reciprocity in Hegel to be made. I then seek to show—with reference to these commitments and a broadly Kojèvean emphasis on the centrality of struggle in human subject-formation—that Fanon's comments about reciprocity take aim at the question of mutual struggle in Hegel and Kojève. ‘The French Negro’, Fanon argues, did not get to experience the cost and value of freedom, unlike Hegel's servant. (shrink)

European women dominate images of beauty, presumably because Europe has dominated the world for the past few centuries. Yet this presumed cause poorly explains “white slavery”-the commodification of European women for export at a time when their continent was much less dominant. Actually, there has long been a cross-cultural preference for lighter-skinned women, with the notable exception of modern Western culture. This cultural norm mirrors a physical norm: skin sexually differentiates at puberty, becoming fairer in girls, and browner (...) and ruddier in boys. Europeans are also distinguished by a palette of hair and eye colors that likewise differs between the sexes, with women more often having the brighter hues. In general, the European phenotype, especially its brightly colored features, seems to be due to a selection pressure that targeted women, apparently sexual selection. Female beauty is thus a product of social relations, but not solely those of recent times. (shrink)