Representations of breast cancer are examined in three popular women's periodicals targeting African American readers: Ebony, Essence, and Black Elegance. The researcher focuses specifically on representations that reflect certain ideas/ideals about the sharing and creating of information about the disease and related issues, such as health care and body image. Magazine selections are analyzed and critiqued according to the epistemological principles outlined by Patricia Hill Collins in Black Feminist Thought. The author calls for further research into how and (...) why particular social and cultural groups consume information about health and illness in particular ways. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:African American Theological Ethics: A Reader ed. by Peter J. Paris and Julius CrumpCory J. MayAfrican American Theological Ethics: A Reader Edited by Peter J. Paris and Julius Crump LOUISVILLE, KY: WESTMINSTER JOHN KNOX PRESS, 2015. 350 PP. $45.00African American Theological Ethics: A Reader (AATE) is a thought-provoking title that piqued my interest upon first sight. I am an African American Christian who studies African (...) American Christianity, culture, history, and black theology. I wondered how the book would discuss African American theological ethics in terms of its articulation, embodiment, and practice. I also had reservations regarding the book's structure, the diversity of themes emphasized, and the balance between discussion of theology and of ethics. A few questions surfaced as I reflected upon the contents of the book. How is the term "theology" defined? Would the book discuss the particular ethical systems derived from monotheistic and polytheistic religions? How have African Americans contextualized their ethics in relation to God(s)? What is the central role of God(s) in this volume?The aim of the editors "is to provide a collection of resources that depict a broad range of theological and ethical reasoning that African Americans developed during two centuries of slavery, a subsequent century of racial segregation and discrimination, and another half century of continuing inequalities of opportunity and achievement" (xvii–xviii). Thus, the book has a strong sociopolitical emphasis. The reader should not expect theological ethics emphasizing the worship of God(s), religious doctrines, or proper religious living. Rather, AATE is a book of loosely interpreted political theologies and sociopolitical theological ethics. The themes of liberation, oppression, race, slavery, and white supremacy are governing hermeneutics that saturate the book's content. As Peter Paris and Julius Crump suggest, "it is important to note that African American theological ethics is not an abstract theoretical enterprise. Rather, it is a form of inquiry that is clearly related to African American studies in history and sociology both of which either imply or reveal a normative bias for racial justice" (xviii).AATE is a collection of thirty-seven essays and excerpts written by influential thinkers in African American history. Works are presented by such popular figures as Ida B. Wells-Barnett, Martin Luther King Jr., Booker T. Washington, and W.E.B. DuBois. The first four sections of the book are ethical in their approaches and display works emphasizing opposition to white supremacy. Part 1, titled "Opposing the Doctrine of White Supremacy," has a solitary essay from Martin R. Delany's work, The Origin of Race and Colour. Parts 2, 3, and 4—"Opposing Slavery," "Opposing Racial Segregation," and "Opposing Racial Discrimination," respectively—contain works from Shirley Chisholm, Barack [End Page 217] Obama, Adam Clayton Powell Jr., Barbara Jordan, and more. The last two parts change the focus of the book from the theme of opposition and theologically center the discourse on African American ingenuity toward different aspects of life. Part 5 assembles essays from scholars such as Jacquelyn Grant and James Cone under the title of "African American Religious Creativity." The last section displays essays from James Weldon Johnson and Peter J. Paris under the banner of "African American Themes and Perspectives."AATE is a good anthology of discourses that have a strong emphasis on social justice. It would be greatly complemented by other selections that emphasize African American theological ethics apart from sociopolitical issues. It is an informative book that contributes to the genre of African American anthologies; it would strengthen any introductory course on African American theology and is beneficial for anyone seeking broad exposure to the development of African American theological ethics. AATE could be read alongside titles such as Katie G. Cannon and Anthony B. Pinn's The Oxford Handbook of African American Theology, or Paul E. Johnson's African American Christianity: Essays in History.Cory J. MayThe University of AberdeenCopyright © 2017 Society of Christian Ethics... (shrink)

Boys, Boyz, Bois concerns questions of ethics, gender and race in popular American images, national discourse and cultural production by and about black men. The book proposes an ethics of masculinity, as ethnics refers to a system of morality and valuation and as ethics refers to a care of the self and ethical subject formation. The texts of analysis include recent films by black/African American filmmakers, gansta rap and hip-hop and black star persona: texts ranging from Blaxploitation and (...) New Black Cinema to contemporary music video to autobiography and the public image of Sidney Poitier. The book is a significant contribution to cultural studies and gender studies and critical race theory. What is distinctive about the book is the question of ethics as a question of race and gender. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 47, no. 2. © 2021 by Feminist Studies, Inc. 419 Paul Amar Insurgent African Intimacies in Pandemic Times: Deimperial Queer Logics of China’s New Global Family inWolf Warrior 2 This essay offers a new paradigm of “deimperial queer analysis” that reveals the tension between the People’s Republic of China’s extractive expansionism in Africa and its claim to solidarity with Africans against white supremacy and Northern imperialism. (...) China has been labeled an “anti-imperial empire” that forcefully challenges previous Euro-American imperial legacies—all while it verges on reenacting them.1 A critical way it resolves this geopolitical tension is through the articulation of a mission for global China, and since 2017, the heroic filmic fictional figure of the “Wolf Warrior” anchors such an approach. The Wolf Warrior is a gorgeous, muscled, Chinese male rogue soldier in exile who adventures through the archipelago of the PRC’s shipping, mining, and medical projects across the Global South to battle white mercenaries, corrupt Asian businessmen, and local pirates—all while saving Africa from a ravaging pandemic. Extending a hugely popular film series, the release in 2017 of the blockbuster Wolf Warrior 2 (abbreviated below as Wolf 2) unleashed a worldwide social media frenzy as well as a revolution in diplomatic tone and protocol for China. In these ways, Wolf Warrior 2 came to mark the debut of the global PRC as a hegemonic structure 1. David Armitage, “The Anti-Imperial Empire?” Times Literary Supplement, no. 6018, August 3, 2018, https://www.the-tls.co.uk/articles/the-anti-imperialempire -american. 420 Paul Amar of feeling with an attendant popular cultural logic, launching a cast of military characters, humanitarian imaginaries, and gendered rebranding initiatives. These fused into a global cultural megaproject with the PRC presenting itself as a leader in responding to the COVID-19 pandemic in the Global South—a time the PRC has officially branded as its “Rejuvenation Era” of “Stepping Out into the World.” This essay shows how exactly this Wolf Warrior imagination has legitimized a new global regime, but I also reveal how, paradoxically, the Wolf Warrior regime has offered a distinct, more subversive worlding project. I argue here that the utopia immanent in this project can be revealed by interpretively turning this Wolf universe inside out through a deimperial queer analysis that honors and combines a Third World feminist lens and the “Asia as Method” approach with Danmei/BL and Slash queer-feminist fanfiction hacks. Danmei is a Chinese (originally mainly Tawainese) fanfiction genre that subverts mainstream heteronormative narratives by erotically aestheticizing and renarrating male-male intimacies within mainstream plotlines from feminist perspectives. BL (short for “boylove ”) is a similar Japanese fanfiction genre, and Slash is the term used in English for the queer/feminist hacking and excavation of sublimated and particularly utopian gender and sexuality plots from within seemingly conventional heteronormative or patriarchal popular-cultural texts. The everted or inside-out epistemology given expression here uses a set of non-phallogocentric lenses and decolonial feminist decoding practices. At stake is the urgency of not repeating the epistemic violence of conventional “anti-imperial” arguments, which tend to be heteronormative, statist, macho, and monolithic. Instead, the form of critique elaborated here brings questions of gender, race, and sexuality to the fore through a three-part approach. First, I identify the homoerotic register of the techno-infrastructural elements in the film. I generate close readings that detail the visual and genre codes of battle scenes, thug subjects, and piracy plots that forge a homoerotic model of rogue or “wolf” governmentality and that act as a metaphor for China’s techno -infrastructural rule. Second, this essay explores the gendered hauntings of supremacist humanism. I deploy a decolonial feminist lens to map the configuration of African women, female doctors, Maoist women insurgents, and feminized “flowerboys” as a rebel protectorate overseen by China’s phallic prerogative that is itself haunted by the specters of Euro-American humanist betrayal and white supremacy. Third, Paul Amar 421 I trace queer kinship utopias. I demonstrate that Wolf Warrior 2 rejuvenates a non-Western, queer, globalist kinship structure that triangulates Asian, white, and Black through adoption dramas and bromance bonds. Through these intimacies, an... (shrink)

Historically, American political science has rarely engaged popular culture as a central topic of study, despite the domain’s outsized influence in American community life. This article argues that this marginalization is, in part, the by-product of long-standing disciplinary debates over the inadequate political development of the American public. To develop this argument, the article first surveys the work of early political scientists, such as John Burgess and Woodrow Wilson, to show that their reformist ambitions largely precluded discussion of (...) mundane activities of social life such as popular culture. It then turns to Harold Lasswell, who produced some of the first investigations of popular culture in American political science. Ironically, however, his work – and the work of those who adapted similar ways of speaking about popular culture after him – only reinforced skepticisms concerning the American public. It has thus helped keep the topic on the margins of disciplinary discourse. (shrink)

This article examines how on-air conversations between journalists indicate how US television coverage of a race-related crisis can reflect racial ideology. Using critical discourse analysis, we examined interjournalistic discourse about African Americans in national network and cable news programs that aired after Hurricane Katrina reached New Orleans. While we expected conversational semantic items from conservative Fox News to reflect racial ideology, we also found such discursive elements from politically moderate and progressive news organizations such as CBS, CNN, and (...) MSNBC. These findings are consistent with Anxiety Uncertainty Management theory, which predicts that exposure to stressors in unfamiliar settings causes individuals to think in ethnocentric, dichotomous, stereotypical ways. Our research underscores the impact of white privilege on language, communication, and news production, and the need for cultural competence training to enhance journalists’ ability to discuss racial matters with ease. (shrink)

This review essay explores Josiah Young's project of developing a liberatory Pan-Africanism that is attuned to cultural diversity and Victor Anderson 's advocacy of postmodern cultural criticism in African - American religious thought. After situating African - American religious thought as a branch of Africana thought, the author examines these two religious thinkers' work as an effort to forge a position on African - American religious thought--including its relation to theology--in an age where even theory is treated (...) as a god that is about to die. At the conclusion, secularism emerges as a religious project that normatively undergirds the methodological dimensions of these works. (shrink)

Nihilism, American style -- The quest for evil -- The negative zone : suburban familial malaise in American beauty, Revolutionary road, and Mad men -- Normal nihilism as comic : Seinfeld, Trainspotting, and Pulp fiction -- Romanticism and nihilism -- Defense against the dark arts : from Se7en to the Dark knight and Harry Potter -- God got involved : sacred quests and overcoming nihilism -- Feels like the movies.

Jacoby Adeshei Carter has done an invaluable service in editing this critical edition of Alain Leroy Locke’s series of six lectures in Haiti delivered “from April 9 to July 10, 1943, when he was the Inter-American Exchange Professor to Haiti under the joint auspices of the American Committee for Inter-American Artistic and Intellectual Relations and the Haitian Ministry of Education”. African American Contributions to the Americas’ Cultures consists of two parts. The first part is Locke’s series of six lectures (...) entitled “The Negro’s Contribution to the Culture of the Americas.” The second part is Carter’s critical interpretative essay on Locke’s lectures entitled “‘Like Rum in the Punch’: The Quest for Cultural... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Popular Culture in the Houses of Poe and CortázarDaniel Bautista (bio)"[…]at the age of nine I read Edgar Allan Poe for the first time. That book I stole to read because my mother didn't want me to read it, she thought I was too young and she was right. The book scared me and I was ill for three months, because I believed in it."…—Julio Cortázar1In interviews (...) and essays, Julio Cortázar, the famous Argentine author, often expressed a lifelong fascination with Edgar Allan Poe (Berg 227–32). Moreover, as a young man Cortázar spent two years translating the American author's prose into Spanish, making irresistible the search for traces of Poe in his own work. His description of Poe as a youthful and guilty pleasure reflects a common reaction to the American author that has led some critics to rue Poe's influence. Jonathan Elmer points out that "Poe's connection with juvenile tastes, and hence with a time when reading and acquiring 'culture' were actually enjoyable […] has been insistently and disapprovingly stressed by the Anglo-American literary-historical tradition" (3). Although Poe himself often liked to "advertise [his work] as ethereal and otherworldly, or avowedly timeless," critics who found elements of the vulgarly popular in his writing regarded the author as a true "stumbling block" in the American literary landscape (Rosenheim and Rachman xii; Eliot 205). In a similar vein, Elmer observes,It has puzzled many critics, sometimes to the point of vituperation, that Poe stands simultaneously as the germinal figure of a central modernist trajectory (leading via Baudelaire to French Symbolism and thence to the high modernism of Eliot and others) and as the much-acknowledged pioneer of several durable mass-cultural genres: detective fiction and science fiction, as well as certain modes of sensational or gothic horror, which are today, to use one of Poe's coinages, "omniprevalent."(2)In the past, such critics tended to dismiss Poe to the fringes of the American canon for what they saw as his highbrow pretensions and lowbrow taste. More recently, critics like Elmer and others have argued that Poe's ability to straddle the high/low cultural divide is precisely what makes him such a perennially fascinating writer and one of the most revealing about American culture in general.Considering Poe's high standing in Latin America, one might assume that the question of his low or popular status was not as much of a stumbling block there.2 Cortázar himself blamed American discomfort with Poe on his use of "baroque" language, an issue that Cortázar's own background as a native Spanish speaker allowed him to ignore: [End Page 1] "since I'm neither English nor American, I see it with another perspective. I know there are aspects which have aged a lot, that are exaggerated, but that hasn't the slightest importance next to his genius" (Weiss 73). The idea that an author's "genius" could rise above the demands of his countrymen was important to Cortázar. Questions about his own cultural status also significantly affected the reception of Cortázar's work, though in many ways he suffered from just the opposite charges made against Poe. The style and themes of his work, and the political context in Argentina during the early part of his career (characterized most conspicuously by the rise of Perónism), led some in the literary establishment of his own country to accuse Cortázar of being too European or elitist.3 Looking at Poe and Cortázar together, this essay compares how both authors negotiated such cultural issues in their writing and the way that Cortázar reworks some of Poe's particular strategies in a modern Argentine setting. Focusing on two of these authors' most well-known stories, "The Fall of the House of Usher" (published in 1839) and "Casa tomada" ("House Taken Over") (published in 1946), I argue that they both reflect some of the ways that Poe and Cortázar grappled with the rise and attraction of a popular culture that threatened to reconfigure their particular literary landscapes.In Keywords, Raymond Williams traces the... (shrink)

What Makes That Black? The African American Aesthetic in American Expressive Culture delineates the African-American aesthetic in both the African-American culture and the artistic cultural formation of the United States. It presents a definition of the African-American aesthetic using a typology of seventy-four tenets-markers that expand the aesthetic's definition to include its artistic structure, cultural function, and consciousness.¿The book is both anecdotal and scholarly, creating an accessible dialogue in a research area sometimes burdened by (...) excessive scholarly nomenclature. The power of story (art) reaches into cognitive spaces and impact understandings unreachable by linear academic argument. ¿Physical features such as images, links to visual media, glossary, bibliography, and index make the project easier for teachers/students to use.¿The book approaches the African-American Aesthetic from wide-ranging sources, cross-referencing literature, dance, oration, music, dress, sub-Saharan African aesthetics, scholarly text, visual arts, athletics, children's games, and anecdotal accounts. (shrink)

An artistic discussion on the critical potential of African American expressive culture In a major reassessment of African American culture, Phillip Brian Harper intervenes in the ongoing debate about the “proper” depiction of black people. He advocates for African American aesthetic abstractionism—a representational mode whereby an artwork, rather than striving for realist verisimilitude, vigorously asserts its essentially artificial character. Maintaining that realist representation reaffirms the very social facts that it might have been understood to challenge, (...) Harper contends that abstractionism shows up the actual constructedness of those facts, thereby subjecting them to critical scrutiny and making them amenable to transformation. Arguing against the need for “positive” representations, Abstractionist Aesthetics displaces realism as the primary mode of African American representational aesthetics, re-centers literature as a principal site of African American cultural politics, and elevates experimental prose within the domain of African American literature. Drawing on examples across a variety of artistic production, including the visual work of Fred Wilson and Kara Walker, the music of Billie Holiday and Cecil Taylor, and the prose and verse writings of Ntozake Shange, Alice Walker, and John Keene, this book poses urgent questions about how racial blackness is made to assume certain social meanings. In the process, African American aesthetics are upended, rendering abstractionism as the most powerful modality for Black representation. (shrink)

The domestic legal obstacles to affirmative action to address the problem of the color line that have arisen in the United States in the past 30 years have become the occasion for discouragement and even despair in the face of the persistent racial disparities in American life. This is due, in part, to the limits of our domestic vocabulary for speaking about such initiatives. In this paper I argue that Christian ethics, with the help of the resources of the emergent (...) minority rights dialogue in international human rights, can play an important role in securing the cultural transformation needed to broaden our vocabulary and reframe our thinking so that our efforts to secure racial justice are not bound by the limits of the conventional domestic vocabulary. Specifically, I argue that the new international discussion of "the right to self-determination" can be usefully employed within Christian ethics to secure the cultural, moral and legal changes needed to secure racial justice in the United States. (shrink)

Traditional African American foods, also referred to as “soul food,” are often given a blanket label of “poor food choices.” The cultural value of these ethnic foods may be disregarded without sufficient study of their nutrient content. This study showed that of the various foods perceived as traditionally African American by the local sampled population, greens were the most often identified as such by 78% and the most frequently consumed (22%) by the subjects. 37% perceived chitterlings as a (...) traditional food, yet only 30% consumed them, and only on an occasional basis. Okra, yams, and black-eyed peas had relatively high consumptions but were not often perceived as traditional African American foods. The latter may suggests a lack of historical food facts, relating to indigenous African foods or may indicate the mainstreaming of these foods. Cowpeas or black-eyed peas, okra, sesame seeds, and watermelon seeds were originally brought to North America from Africa. The literature contains scant information on this particular topic, which leaves unanswered: (1) the current consumption of traditional foods by African Americans, (2) certain availability of these foods; and (3) the positive contributions to the diet that these foods may contribute. The author recognizes that “African American” is the most appropriate and preferred term used widely today, to refer to African descendants in North America, however “Black” and “Black American” will be used interchangeably, to reflect consistency of literature cited herein. First, this article will define traditional African American foods and relate their historical significance. Secondly, it will present data on current food consumption from a sample population of African Americans surveyed in San Diego. Lastly, this article will explore possible applications of the research itself. (shrink)

In the United States, people are deeply divided along lines of race, class, political party, gender, sexuality, and religion. Many believe that historical grievances must eventually be left behind in the interest of progress toward a more just and unified society. But too much in American history is unforgivable and cannot be forgotten. How then can we imagine a way to live together that does not expect people to let go of their entrenched resentments? Living with Hate in American Politics (...) and Religion offers an innovative argument for the power of playfulness in popular culture to make our capacity for coexistence imaginable. Jeffrey Israel explores how people from different backgrounds can pursue justice together, even as they play with their divisive grudges, prejudices, and desires in their cultural lives. Israel calls on us to distinguish between what belongs in a raucous “domain of play” and what belongs in the domain of the political. He builds on the thought of John Rawls and Martha Nussbaum to defend the liberal tradition against challenges posed by Frantz Fanon from the left and Leo Strauss from the right. In provocative readings of Lenny Bruce’s stand-up comedy, Philip Roth’s Portnoy’s Complaint, and Norman Lear’s All in the Family, Israel argues that postwar Jewish American popular culture offers potent and fruitful examples of playing with fraught emotions. Living with Hate in American Politics and Religion is a powerful vision of what it means to live with others without forgiving or forgetting. (shrink)

One can understand humor in terms of one or some combination of the three types of humor and also by envisioning humor as a finite-province of meaning in the tradition of Alfred Schutz’s essay “On Multiple Realities”. Exemplifying varieties of humor articulated by philosophical theory, especially the superiority theory, which undermines those thought “superior,” African-American humor, from the days of slavery until the 1960s, struggled against widespread cultural suppression, as a brief survey of its history shows. Contemporary philosophical discussions (...) of trust elucidate why it would have been perfectly rational and prudent for African-Americans to avoid sharing humor that vents legitimate aggressiveness against whites even though modified by humor, and yet these discussions present the possibility that by trusting another one can transform that other. One can find examples in African-American folklore, particularly the John/ole Massa stories, of a dream of doing what was impossible in pragmatic everyday life, namely to engage in a comic engagement with white slave-owners. In that dream, African-American slaves utopianly imagined themselves as able through humor understood as a finite province of meaning shaped by an epoché, form of spontaneity, reduced tension of consciousness, sense of self, and a distinctive temporality and sociality, to express outrage at injustice, transform even white slave-owners, and even win freedom for humorists themselves. (shrink)

From the 1870s to the 1950s, African Americans frequently referred to the Chinese sage Confucius when demanding justice from American white society. This hitherto unnoticed strategy emphasized Confucian morality to undermine the theoretical basis of American racism. It exposed the hypocrisy of white society on racial relations and illuminated a different path for blacks’ racial advancement. In the process, blacks added an American racial color to Confucius’ image while portraying themselves as cosmopolitan and rational fighters for racial fairness. (...) Chinese culture is therefore not only widely known in America but has an important role to play in its interracial relations. (shrink)

This anthology brings together a selection of historical and contemporary writings on topics in African-American Philosophy. Questions regarding a wide range of issues--including slavery and freedom, social progress, self-respect, alienation, sexuality, cultural identity, nationalism, feminism, Marxism and violence--are critically examined from different perspectives by well-known philosophers and by non-philosophers from many disciplines. It emphasizes the historical significance of the philosophical arguments within very specific social and political contexts. Features substantial extracts, and in some cases complete works by important 19th- (...) and 20th-century social and political thinkers--organized under sections on Antebellem Critical Thought, Emigrationist and Diaspora Thought, Assimilation and Social Uplift, Contemporary Black Feminist Thought, Civil Rights and Civil Disobedience, Marxism and Social Progress, Rebellion and Radical Thought, Social Activism Reconsidered, Black Women Writers on Rape, and Alienation and Self-Respect. For anyone interested in the African-American experience and American history. (shrink)

African American spirituality provides a rich lens into the heart and soul of the black church experience, often overlooked in the Christian spiritual formation literature. By addressing this lacuna, this essay focuses on three primary shaping qualities of history: the effects of slavery, the Civil Rights Movement under Dr. Martin Luther King's leadership, and the emergence of the Black Church. Four spiritual practices that influence African American spirituality highlight the historical and cultural context of being “forged in the (...) fiery furnace,” including worship, preaching and Scripture, the community of faith and prayer, and community outreach. The essay concludes by recognizing four areas of the lived experiences of African Americans from which the global church can glean: persevering in pain and suffering, turning to God for strength, experiencing a living and passionate faith, and affirming God's intention for freedom and justice to be afforded to every individual. (shrink)

This wide-ranging, multidisciplinary collection of newly commissioned articles brings together distinguished voices in the field of Africana philosophy and African-American social and political thought. Provides a comprehensive critical survey of African-American philosophical thought. Collects wide-ranging, multidisciplinary, newly commissioned articles in one authoritative volume. Serves as a benchmark work of reference for courses in philosophy, social and political thought, cultural studies, and African-American studies.

Long touted in literary and historical works, the Mississippi River remains an iconic presence in the American landscape. Whether referred to as ‘Old Man River’ or the ‘Big Muddy,’ the Mississippi River represents imageries ranging from pastoral and Acadian to turbulent and unpredictable. But these imageries – revealed through the cultural production of artists, writers and even filmmakers – did not adequately reflect the experiences of everyone living and working along the river. The African-American community and its relationship to (...) the Mississippi River down the ages is occluded by these discourses. In focusing on this alternate history, namely the African-American experience with the Mississippi River, the overarching framework of this paper will consist of three lenses on the river as: refuge, labor, and cultural icon. From the moment of their arrival, the intersection of their lives with the Mississippi River reveals a history where the river offers freedom, oppression, escape, sustenance, renewal, disease and displacement. From this largely unexplored perspective, distinctions of race and class are exposed and reinforced. Although rivers have long been included in the historical record, whether through a geographical, spiritual, aesthetic or recreational perspective, the juncture where human lives intersect with rivers, constructing memory and identity, remains overlooked despite a plethora of cultural artifacts such as song, prose and poetry that distinguish experiences. These cultural artifacts, in turn, differentiate reciprocal relationships with the river based on race and class. For the African-American community, the Mississippi River alternated between liberator and oppressor, informing the social construct of an identity that was at times lamented, celebrated, demeaned and feared. But how did these linkages with the river not only influence a distinct collective memory but also nurture a culture with certain understandings and perspectives about the river? And if so, what have been their ramifications? Through an examination of folklore, song and first-person accounts, these questions will be addressed as multiple narratives persist, offering a history that makes more explicit the distinctive experiences of the African-American communities in their engagement with the Mississippi River. (shrink)

Cultural values influence how people understand illness and dying, and impact their responses to diagnosis and treatment, yet end-of-life care is rooted in white, middle class values. Faith, hope, and belief in God’s healing power are central to most African Americans, yet life-preserving care is considered “aggressive” by the healthcare system, and families are pressured to cease it.

Through the back door: the problem of history and the African American philosopher/philosophy -- The problem of philosophy: metaphilosophical considerations -- The search for values: axiology in ebony -- Philosophy of science: African American deliberations -- Mapping the disciplinary contours of the philosophy of religion: reason, faith, and African American religious culture.

addams wrote movingly about how significant her immigrant neighbors’ cultures were, both to the immigrants and to non-immigrant Americans. She lived in one of Chicago’s many densely populated immigrant districts, with Italians, Greeks, Russians, Poles, Bohemians, and Eastern European Jews in the immediate vicinity of Hull House.1 Through countless interactions with these neighbors, Addams developed the empirical knowledge base and the perceptual sensitivities with which to reflect on the role of culture in sustaining and enriching human and community (...) life. Addams spoke and wrote extensively on these issues.Addams had fewer interactions with African Americans. When Hull House opened in 1889, immigrants and their .. (shrink)

The chief difficulty with most social and psychological studies of violence lies in their assumption that violence is essentially a simple act of aggression that can be treated outside of a more complex moral and dramatic context. This may be the case with news reports of war, murder, assault, and other forms of violent crime, but it is certainly not a very adequate way to treat the fictional violence of a western, a detective story, or a gangster saga. It is (...) true that one can count and catalog the number of violent acts that occur in a day or a week of television and produce distressing statistics about the number of murders and assaults per minute on the typical television show. One can, like the redoubtable Dr. Wertham, amass specific instances where a young person has imitated or thinks he has imitated an act of violence he saw on television, though we should not forget that it can also be said without much fear of contradiction that the literary work which has directly caused more violence in the history of Western civilization than any other is the Bible. One can also construct laboratory experiments in which various groups are shown short films of violent acts and demonstrate that in certain circumstances this experience will cause further aggressive behavior. With procedures such as this, the evidence of a correlation between media violence and aggressive behavior becomes more and more persuasive. But do such studies tell us anything more than that this is a violent age and that there is probably some connection between the violence of actuality and the representation of violence in the media? John G. Cawelti, author of Apostles of the Self-made Man, Six-Gun Mystique, and Focus on Bonnie and Clyde, is professor in the Department of English and chairman of the Committee on General Studies in the Humanities at the University of Chicago. (shrink)

Part I Philosophic Traditions Introduction to Part I 3 1 Philosophy and the Afro-American Experience 7 CORNEL WEST 2 African-American Existential Philosophy 33 LEWIS R. GORDON 3 African-American Philosophy: A Caribbean Perspective 48 PAGET HENRY 4 Modernisms in Black 67 FRANK M. KIRKLAND 5 The Crisis of the Black Intellectual 87 HORTENSE J. SPILLERS Part II The Moral and Political Legacy of Slavery Introduction to Part II 107 6 Kant and Knowledge of Disappearing Expression 110 RONALD A. T. (...) JUDY 7 Social Contract Theory, Slavery, and the Antebellum Courts 125 ANITA L. ALLEN AND THADDEUS POPE 8 The Morality of Reparations II 134 BERNARD R. BOXILL Part III Africa and Diaspora Thought Introduction to Part III 151 9 “Afrocentricity‘: Critical Considerations 155 LUCIUS T. OUTLAW, JR. 10 African Retentions 168 TOMMY L. LOTT 11 African Philosophy at the Turn of the Century 190 ALBERT G. MOSLEY Part IV Gender, Race, and Racism Introduction to Part IV 199 12 Some Group Matters: Intersectionality, Situated Standpoints, and Black Feminist Thought 205 PATRICIA HILL COLLINS 13 Radicalizing Feminisms from “The Movement Era‘ 230 JOY A. JAMES 14 Philosophy and Racial Paradigms 239 NAOMI ZACK 15 Racial Classification and Public Policy 255 DAVID THEO GOLDBERG 16 White Supremacy 269 CHARLES W. MILLS Part V Legal and Social Philosophy Introduction to Part V 285 17 Self-Respect, Fairness, and Living Morally 293 LAURENCE M. THOMAS 18 The Legacy of Plessy v. Ferguson 306 MICHELE MOODY-ADAMS 19 Some Reflections on the Brown Decision and Its Aftermath 313 HOWARD McGARY 20 Contesting the Ambivalence and Hostility to Affirmative Action within the Black Community 324 LUKE C. HARRIS 21 Subsistence Welfare Benefits as Property Interests: Legal Theories and Moral Considerations 333 RUDOLPH V. VANTERPOOL 22 Racism and Health Care: A Medical Ethics Issue 349 ANNETTE DULA 23 Racialized Punishment and Prison Abolition 360 ANGELA Y. DAVIS Part VI Aesthetic and Cultural Values Introduction to Part VI 373 24 The Harlem Renaissance and Philosophy 381 LEONARD HARRIS 25 Critical Theory, Aesthetics, and Black Modernity 386 LORENZO C. SIMPSON 26 Black Cinema and Aesthetics 399 CLYDE R. TAYLOR 27 Thanatic Pornography, Interracial Rape, and the Ku Klux Klan 407 T. DENEAN SHARPLEY-WHITING 28 Lynching and Burning Rituals in African-American Literature 413 TRUDIER HARRIS-LOPEZ 29 Rap as Art and Philosophy 419 RICHARD SHUSTERMAN 30 Microphone Commandos: Rap Music and Political Ideology 429 BILL E. LAWSON 31 Sports, Political Philosophy, and the African American 436 GERALD EARLY. (shrink)

Explores the interplay between artistic values and social, political, and moral concerns in writings by African American and Native American women.

DIVA consideration of the performance of Blackness and race in general, in relation to sexuality and critiques of authenticity./div.

This chapter contains section titled: Seinfeld Waiting to Exhale Ellen Special News Broadcasts Radio Programs Outlaw Communities Talk Shows Conclusion.

Growing research evidence on the ethic of care suggests that caring should be an integral part of the pedagogical methods implemented in schools. However, the colour blind ‘community of care’ often described in the literature does not disaggregate lines of ethnicity or race and much of this existing literature concerns elementary‐ and middle‐school students. This phenomenological study examined teacher care for African American secondary students, through a theoretical lens of critical race and care theory, as it was represented through (...) the counter stories of eight ‘successful’ African American teachers. Findings revealed that teachers’ definitions and perceptions of care reflected a blend of traditional care literature, critical race theory and the literature on African American teachers before and after the US Supreme Court’s landmark Brown decision on integration. Findings also reveal the possibility of a pedagogy that I refer to as ‘culturally relevant critical teacher care’. (shrink)

The purpose of this research is the analysis of a specific cultural and political tension, through two decisive concepts: imagocracy and imagomaquia. Our aim is to define the political battlefield in the arena of audiovisual communication. In the case of Latin America, we have identified two significant moments, in which the popular audiovisual strategies had crucial importance. Our material of research has been both the New Latin American Cinema and the sociology of the decolonial image. We have studied them (...) in depth in order to define the effectiveness of popular audiovisual strategies as nuclei of creation and aesthetic-political resistance, which opposes the hegemonic audiovisual order. (shrink)

Recently I saw a corporate TV advertisement for the American television network ABC. It showed brief shots of people in other countries—France, Japan, Russia and so on. These people were doing all kinds of things, but they weren't watching television. Americans, the commentary told us, watch more TV than any of these people. Yet America is the richest, most innovative, most productive nation on the planet. ‘A coincidence’, concluded the wry, confident voice, ‘we don't think so’.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Tragic Vision of African American ReligionPaul E. CapetzThe Tragic Vision of African American Religion Matthew V. Johnson New York, N.Y.: Palgrave Macmillan, 2010. 189 pp. $75.00Matthew Johnson’s profound book The Tragic Vision of African American Religion sheds new light upon the distinctive nature of African American religion. Adequate interpretation of this topic requires understanding the traumas inflicted upon Africans sold into slavery, their (...) existential predicaments before and after emancipation, and the ongoing plight of their descendants whose psyches have been indelibly scarred by this traumatic history. Johnson avails himself of the resources of philosophical theology, psychoanalytic theory, and literary criticism to argue his thesis that African American religion expresses a tragic vision of reality. Besides providing an illuminating analysis of the traumatic experience underlying this religious vision, Johnson presents a compelling constructive proposal as to the broader implications of his thesis for Christian theology at large.As a student of David Tracy and Langdon Gilkey, Johnson sees the necessity for rigorous philosophical reflection in theology. Because the spirituality of the black church stands in some real tension with the traditional theological categories inherited from Europe, Johnson proceeds with “a phenomenological orientation grounded in a philosophical hermeneutical approach” that allows him to excavate the traumatic experiences informing this spirituality (4). He skillfully uses the concepts of mourning, loss, longing, and desire developed in psychoanalytical theory to probe the significance of trauma for grasping the dynamics of African American spirituality. He engages literary criticism and argues convincingly for a distinction between “tragedy” as a literary genre and the tragic vision it articulates. Indeed, the tragic vision is prior to tragedy. The tragic is not the encounter with meaninglessness per se but “the always already aesthetic representation of the encounter, which preserves its terrible truth in a transfigured vision of reality” (6). This vision affirms life while facilitating “the recognition and embrace of the darker, more fundamental truths of life” (7).Cognizant that other theologians have declared the incompatibility of Christian faith with a tragic vision of reality, Johnson believes otherwise. He insists that the tragic is fundamental to human experience as such, although it is frequently evaded by strategies of foreclosure—including those of Christian theology—that falsify the experience. Yet the distinctive thing about the black religious experience is the way African Americans made the Christian faith [End Page 215] their own by transforming it at a deep spiritual level through their tragic vision. Mildly critical of previous formulations of black theology, Johnson contends that this involved much more than the affirmation that God cares about the sociopolitical liberation of oppressed people. The Christian tragic vision of the black experience offers the possibility of a new basis for “theology in an African American key” (6). Since he understands himself primarily as a Christian theologian, however, Johnson addresses an audience consisting of more than fellow black theologians. He rightly highlights a profound truth that white theologians have largely failed to grasp: the contribution of the black church “transcends the confines of African American culture to speak meaningfully to a Christian faith struggling to remain viable in a meaningful way” (10).James Cone once issued this challenge: “Why don’t white theologians make racism their issue?” White theologians who ponder Johnson’s book will begin to understand the full import of this challenge: by opening ourselves unreservedly to the pain of our black sisters and brothers, we may discover anew the meaning of that genuine humanity to which the gospel summons all people. A theological reformulation of Christian faith as tragic in the light of the traumas of the black experience could occasion a much needed reformation of the white churches in America.Paul E. CapetzUnited Theological Seminary of the Twin CitiesCopyright © 2012 The Society of Christian Ethics... (shrink)

An emerging body of research comparing body image disturbance and eating problems among African American and white women suggests that there are major ethnic differences in these areas. African American women appear to be more satisfied with their weight and appearance than are white women, and they are less likely to engage in unhealthy weight control practices, yet they are more likely to have high rates of obesity. Drawing on both Black and white feminist literature on eating problems, (...) this article advances three arguments that may account for these differences: Black women may develop a strong positive self-valuation and an alternative beauty aesthetic to resist societal stigmatization, Black women may be less likely to acquire eating disorders due to differences in the cultural construction of femininity in Black communities, and positive body image among Black women may sometimes reflect a defensive need to deny health problems such as compulsive overeating and obesity. (shrink)

This review essay explores Josiah Young's project of developing a liberatory Pan-Africanism that is attuned to cultural diversity and Victor Anderson's advocacy of postmodern cultural criticism in African-American religious thought. After situating African-American religious thought as a branch of Africana thought, the author examines these two religious thinkers' work as an effort to forge a position on African-American religious thought--including its relation to theology--in an age where even theory is treated as a god that is about to (...) die. At the conclusion, secularism emerges as a religious project that normatively undergirds the methodological dimensions of these works. (shrink)

marilyn fischer’s careful historiographical treatment of the ideas and life of Jane Addams deepens our understanding of Addams’s important work as a thinker and practitioner. The paper paints a picture of the ideological and sociological landscape of Addams’s world, paying close attention to the relationships Addams had with other prominent thinkers of the day, such as the African Americans W. E. B. Du Bois and Ida B. Wells-Barnett, as well as the pragmatist Josiah Royce. Fischer seems to have (...) doubled aims in the paper. On the one hand, she makes a set of claims that helps us understand Addams better as a historical thinker. On the other hand, the paper advances another set of claims about Addams’s relation to .. (shrink)

By analyzing the amalgam of Greek philosophy, Jewish and Christian teachings, and secular humanism that composes our dominant ethical system, the authors of this volume explore the question of whether or not Western and non-Western moral values can be commingled without bilateral loss of cultural integrity. They take as their philosophical point of departure the observation that both ethical relativism and ethical absolutism have become morally indefensible in the context of the multicultural American life, and they variously consider the need (...) for an ethical middle ground. (shrink)

The expression ‘cultural pluralism’ was popularized by Horace Kallen, a student of William James. I explore the meaning of pluralism in the context of the American pragmatic tradition with emphasis on the meaning of pluralism for William James. Kallen sought to characterize cultural pluralism in contrast with the idea of America as a ‘melting-pot’. I also examine the contributions of Randolph Bourne and the African-American philosopher Alain Locke to the discussion of cultural pluralism. I conclude by indicating that the (...) idea of a democratic society that respects and is enriched by differences is highly relevant to contemporary discussions of cultural pluralism in a global context. (shrink)

In Cameroon, a monumental "statue of liberty" is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the contributors (...) engage with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl's photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans' Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising "morality" plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly "African" aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès. (shrink)

When the term “postfeminism” entered the media lexicon in the 1990s, it was often accompanied by breathless headlines about the “death of feminism.” Those reports of feminism’s death may have been greatly exaggerated, and yet contemporary popular culture often conjures up a world in which feminism had never even been born, a fictional universe filled with suburban Stepford wives, maniacal career women, alluring amnesiacs, and other specimens of retro femininity. In _Feminism and Popular Culture_, Rebecca Munford and (...) Melanie Waters consider why the twenty-first century media landscape is so haunted by the ghosts of these traditional figures that feminism otherwise laid to rest. Why, over fifty years since Betty Friedan’s critique, does the feminine mystique exert such a strong spectral presence, and how has it been reimagined to speak to the concerns of a postfeminist audience? To answer these questions, Munford and Waters draw from a rich array of examples from contemporary film, fiction, music, and television, from the shadowy cityscapes of _Homeland _to the haunted houses of _American Horror Story_. Alongside this comprehensive analysis of today’s popular culture, they offer a vivid portrait of feminism’s social and intellectual history, as well as an innovative application of Jacques Derrida’s theories of “hauntology.” _Feminism and Popular Culture_ thus not only considers how contemporary media is being visited by the ghosts of feminism’s past, it raises vital questions about what this means for feminism’s future. (shrink)