This chapter is devoted to the discussion of religious freedom and the anti-racist fight in the Black Diaspora in Latin America, considering the historical processes that involve such discussion, including legal apparatus such as Human Rights and local legislation. Therefore, as a starting point, we take the historical conditions of the emergence of Candomblé in Brazil, that are linked to the trafficking of enslaved African peoples and their resistance to keep alive in their memories, their religious beliefs and (...) their worldviews. Wherefore, it is a discussion in which religious freedom is not dissociated from the anti-racist struggle in the case of Brazil, where, in the 20th century, the myth of racial democracy is produced in the light of studies carried out by Gilberto Freyre in the midst of the 1922 post-week modernist movement. (shrink)

This article is the attempt of an historically oriented analysis focused on the role of Nigerian music as a cultural hub for the export of African cultural influences into the Black diaspora in the United States and its anticipation by the Free Jazz/Avantgarde-scene as well as the import of key-values related to the Black Power-movement to the African continent. The aim is to demonstrate the leading role and international impact of Nigeria's cultural industry among sub-saharan African nation (...) states and its specific ability to absorb and incorporate elements of Western culture. -/- After a short discussion of African influences on jazz music in general and the socio-political, cultural, and artistic context in which Free Jazz emerged, examples for the articulation of African consciousness among influencing key figures such as saxophonist John Coltrane or the Art Ensemble of Chicago are being presented. Furthermore, the personal and ideological links between the Avantgarde Jazz-scene and the Black Power-movement - especially the Black Panther Party - are made transparent. -/- In a second step the central influence of the Nigerian drum-pioneer Babatunde Olatunji on the Africanization of US-Jazz musicians, his personal and creative impact on John Coltrane, as well as the Black Power-movement is being highlighted. On the other hand, Coltrane, Free Jazz, and the Black Panther Party are being portrayed as a central creative and ideological turn in the career and work of Fela Kuti and towards political activism and his efforts to implement and apply the Africa-inspired Black Power -struggle of the US on the African continent in order to fight post-colonial forms of oppression. -/- . (shrink)

Introduction -- Biographical details -- The nature of the philosophic enterprise: initial issues -- Contemporary scholarship on arts -- Artistic expression in Africa -- Philosophy and artistic expression in Africa -- Arts, memory and identity -- Conclusion.

Black beauty shame emerges within the Black/white binary because of the beauty values sedimented in our structure of feeling since African enslavement. This article does not start from white beauty as the ideal, but focuses on the performativity of Black beauty shame as it transforms or intensifies the meanings of parts of the body in Jamaica and its UK diaspora. Using extracts from interviews with UK Jamaican heritage women, the discussion illustrates how Black beauty shame (...) produces such intensification. First, where white beauty is iconic and reproduces the Black other as ‘ugly’, and second, where the Black ‘mixed race’ body is constructed as ‘other’ because of Black Nationalist discourses on beauty. The women’s critique of the shaming event shows that shame is undone through dis-identification as speakers draw on alternative beauty discourses to produce new beauty subjectivities. Dis-identification illustrates the transformational potential of shame as new Black beauty positionings emerge within the diaspora, drawing on beauty ideologies and models from Jamaica and thus destabilising the Black/white binary. (shrink)

Social Work with The Black African Diaspora locates a complex and layered analysis of social work practice within the Western, precisely, the Republic of Ireland context. This work tells us that so...

This memoriam essay begins with a reflection on the author’s relationship to Drucilla Cornell, the famed activist, revolutionary legal theorist, social and political philosopher, playwright, and biographer. It then proceeds to examine her contributions to Africana existential revolutionary thought and the Caribbean-inspired project of shifting the geography of reason.

Kameron Carter’s reading of Black life as matter, as the imaginary, and as an innovation of possibilities enmeshes Black theology, Black womanist/feminist thought, Black Diaspora and Black American Studies, Philosophy, and Queer of Color Critique to reveal how the project of the western world erases Black physical and intellectual legacy. A project that is anti-black, anti-other, anti-difference that erases the legacy of the physical and intellectual aspects of Black contributions to the (...) western world. His book is an invitation to think through what Black ontology would look like outside of white western constructions of religion and social scripts. Carter’s radical shift from being beyond the long durée of enslavement, colonization, segregation, and its afterlives scripts an (anti)blackening because of the western project of erasure works to undo such a project. The book is working against the social ontology of being a fragmented object that is plasticized, fetishized, and dissolved into a state of non-being. It is a project that disrupts and decolonizes previously constructed (anti)blackening architecture by creating a blueprint that asks for Black matter as an incomplete project because it must include imagination and innovation. (shrink)

The article argues that there are three senses of the term African diaspora – a continental, a cultural and a racial sense – which need to be distinguished from each other when conceptualising Black African diasporas in Europe. Although African Diaspora Studies is occupied with African diasporas in a racial sense, usually it has conceptualised these in terms of racial and cultural identities. This is also true of the past decades of African Diaspora Studies on Europe. (...) This article makes an argument for a socio-political conceptualisation of Black African diasporas in Europe that includes, but goes beyond, matters of identity and culture. (shrink)

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

Afrocentrism. Eurocentrism. Caribbean Studies. British Studies. To the forces of cultural nationalism hunkered down in their camps, this bold hook sounds a liberating call. There is, Paul Gilroy tells us, a culture that is not specifically African, American, Caribbean, or British, but all of these at once, a black Atlantic culture whose themes and techniques transcend ethnicity and nationality to produce something new and, until now, unremarked. Challenging the practices and assumptions of cultural studies, The Black Atlantic also (...) complicates and enriches our understanding of modernism. Debates about postmodernism have cast an unfashionable pall over questions of historical periodization. Gilroy bucks this trend by arguing that the development of black culture in the Americas arid Europe is a historical experience which can be called modern for a number of clear and specific reasons. For Hegel, the dialectic of master and slave was integral to modernity, and Gilroy considers the implications of this idea for a transatlantic culture. In search of a poetics reflecting the politics and history of this culture, he takes us on a transatlantic tour of the music that, for centuries, has transmitted racial messages and feeling around the world, from the Jubilee Singers in the nineteenth century to Jimi Hendrix to rap. He also explores this internationalism as it is manifested in black writing from the "double consciousness" of W. E. B. Du Bois to the "double vision" of Richard Wright to the compelling voice of Toni Morrison. In a final tour de force, Gilroy exposes the shared contours of black and Jewish concepts of diaspora in order both to establish a theoretical basis for healing rifts between blacks and Jews in contemporary culture and to further define the central theme of his book: that blacks have shaped a nationalism, if not a nation, within the shared culture of the black Atlantic. (shrink)

This analysis of enslavement in an American South subregion provides an historical microcosm for understanding the complexities of provincial culture formation in the modern world-system. Simultaneously rooted in multiple points of local and world-systemic origin, peoplehood is an historical product of the capitalist world-system. Despite widespread notions to the contrary, low black population density and geographical isolation did not forestall slave community building on small plantations. Despite extreme repression, slaves dialectically preserved and altered hidden transcripts in order to recapture (...) pasts that had been silenced by the capitalist system. Embracing the collective diasporic memory of many disparate communities, small slave populations shared the collective grievance and the counter-hegemonic culture of all who had been forced to participate in international and domestic labor migrations. (shrink)

This paper has two objectives. The first objective is a decoupling of the African body from ‘blackness’—a discursive formation—that was attached to the body by the slave and the colonial regimes. The second aim is a critique of modern epistemic and epistemological regimes that give ‘blackness’ its modern currency. To achieve these goals, I use phenomenology, a philosophy of self-responsible beginning according to Edmund Husserl, to return to the African body before colonialism and slavery. Through phenomenology I can ‘bracket’ what (...) the above regimes and their legacies have been conditioning the African to see and know about the body. The paper is therefore an attempt at a liberatory epistemology aimed at overcoming what Achille Mbembe has referred to as a ‘dungeon of appearance’. Since ‘blackness’ is continental and diaspora Africans (CADA) seen through discursive colonial eyes, phenomenology provides an epistemological freedom to observe the body in-time. (shrink)

This article explores the history of Vodou from outlawed African dance to revolutionary magic to depoliticized national Haitian religion and popular dance, its present reduction to Diaspora interpersonal healing, and a possible future. My first section, on Kate Ramsey’s The Spirits and the Law: Vodou and Power in Haiti, reveals Vodou as a sociopolitical construction of racist legal oppression of Africana dances rituals, and artistic-political resistance thereto. My second section, on Karen McCarthy Brown’s Mama Lola: A Vodou Priestess in (...) Brooklyn, a “postmodern ethnography” of intersectional oppressions and Black female Haitian resistance in the Diaspora, foregrounds the figure of Gedelia, a feminist variant on Papa Gede, central Vodou spirit (lwa) of resurrection and healing. Finally, my last section, on the “observing participant” analyses of Black dance anthropologist Yvonne Daniel’s Dancing Wisdom: Embodied Knowledge in Haitian Vodou, Cuban Yoruba, and Bahian Candomblé, finds a dancing Gedelia in her centering of Oyá, a warrior spirit of storms and death. On this basis, I propose the figure of tornadic black angels as a possible magical tool (in Vodou, a pwen, or “point”) intended to re-spiritualize and thereby re-politicize the secularized and whitewashed social Latin dance called “salsa” for social justice. (shrink)

• Examines the Oldawan, the Ancient Soul of Africa, and its correlation with what modern psychologists have defined as the collective unconscious • Draws on archaeology, DNA research, history, and depth psychology to reveal how the biological and spiritual roots of religion and science came out of Africa • Explores the reflections of our African unconscious in the present confrontation in the Americas, in the work of the Founding Fathers, and in modern psychospirituality The fossil record confirms that humanity originated (...) in Africa. Yet somehow we have overlooked that Africa is also at the root of all that makes us human--our spirituality, civilization, arts, sciences, philosophy, and our conscious and unconscious minds. In this African-revisioned look at the unfolding of human history and culture, Edward Bruce Bynum reveals how our collective unconscious is African. Drawing on archaeology, DNA research, history, depth psychology, and the biological and spiritual roots of religion and science, he demonstrates how all modern human beings, regardless of ethnic or racial categorizations, share a common deeper identity, both psychically and genetically, connected with a primordial African unconscious. Exploring the beginning of early religions, spirituality, and mysticism in Africa, along with philosophy, art, and science, the author looks at the Egyptian Nubian role in the rise of civilization and the emergence of Kemetic Egypt, revealing how and why ancient Egypt was separated from the rest of Africa in the Western mind--despite it being the most sophisticated expression of the Mother Continent. He examines the Oldawan, the Ancient Soul, and its correlation with what modern psychologists have defined as the collective unconscious. Revealing the spiritual and psychological ramifications of our shared African ancestry, the author examines its reflections in the present confrontation in the Americas, in the work of the Founding Fathers, and in modern Black spirituality, which arose from African diaspora religion and philosophy. By recognizing our shared African unconscious, the matrix that forms the deepest luminous core of human identity, we can learn to see and feel that the differences between one person and another are merely superficial and ultimately there is no real separation between the material and the spiritual. (shrink)

In Ecowomanism at the Panamá Canal: Black Women, Labor, and Environmental Ethics, Sofía Betancourt constructs environmental ethics at the intersection of the global North and global South. Betancourt explores transnational environmental justice through the lived experience of women from the African Diaspora who migrated to Panamá to work on the Canal.

Performative utterance -- How to slip the yoke: the Black (w)hole ritual -- Searching for the Black difference: Black philosophy and redemption songs -- A critique of Black philosophy: rethinking Black philosophical re-appropriations of humanism -- No more redemption songs: the Black difference and alterity.

The four essays collected in this dossier are directed upon the contemporary understandings of blackness, as an ontology, a phenomenology, or a historicity. In the order of their presentation they encompass and situate what seems first to limit black being or overflow it, but which, when questioned, that is, disclosed, or unconcealed, does not fit into this logos, nor is ordered by it, even making what is most discernable about blackness in its past, future, or present, seem imaginary, moored (...) in a non-present,and presence, but in ways which make the non-being that marks blackness as sign, affect, or speaking being, unthinkable except as an appearing, a manifestation, an identity.As a dossier directed upon the present philosophical understanding of blackness, each paper seeks to unanchor blackness from the meanings and presuppositions that it normally calls forth. Beyond what is discernable, or ready-made, each paper addresses structures that make (and have made) blackness discernable as the always given to be seen, as meaningless speech, as pathology, as a concept beyond reason.The dossier opens with a question: what kind of disturbance does blackness present to being? Why does it seem to madden reason, or call forth frenzy? In Calvin Warren’s essay, “The Karen Call,” what comes into correlation with blackness are various kinds of emergency that structure white thought and presence but that belie witnessing and intelligibility, and in whose chain of significations can be discerned an ontological privilege that constitutes the world. To appear emergent, it seems, all blackness has to do is become one with the myth that bans or compromises it; a manifestation in which subject-object relations are already polarized by the dangers that deploy it in dramas of emergency. Once blackness becomes emergent, there is no escape, for it comes up against what Warren, reading Heidegger against the grain, suggests is a racial destiny of Being. To appear black is forthwith to resemble an es gibt that is indissociable from threat, falsehood, fantasy, and obliteration. To that extent, blackness attests to a kind of ontological emergency without surcease or hope, and one whose trace remains in every moment or glimpse; whose technical modality and structure always returns us to the call that is neither speech nor gaze, word nor symbol, but represents an extimacy that is undeconstructable, beyond utterance, meaning, or reparation.Such extimacy seems to induce a crisis in the philosophical notion of being itself. In Axelle Karera’s essay, “Paraontology,” the question asked is why blackness cannot be contained or fitted into ontology itself; or, if philosophy is ontology, why does blackness seem to signify an irreducible resistance to it?How does such resistance occur? If blackness can only be presented as “paraontology,” a word that seems to shelter ontology at the same time as it presents the search for a new order of being, what does the para teach us about blackness as disorder, resistance, or identity? What is its philosophical genealogy and affiliation, and why does the para itself seem to never get beyond its own conciliation, or filiation to philosophy, whose ordering and racist historicity thereby remains the seme and mark of the para as interval, trope, and index? Or, put more simply, can blackness ever resist its own resistance as trope, conjuncture, or representation? Retracing that genealogy through the work of Oskar Becker, Karera uncovers a surreptitious repetition in black uses of the word, in whose weave can be discerned a fascist interference that not only undermines the fugitivity of the resistance so claimed, but one that unwittingly repeats a fascist ontology of world, history, and being.1 It’s a startling, deeply disturbing claim. But the apparent echoing of the Heideggerian bell in black significations of ontology suggests that what is being reabsorbed here is not so much a radical difference but a concept that remains justified and in fee to, pardoned and annulled by, a white notion of being. What, then, can it mean to think blackness as para? Nothing more than a philosophical confusion that confuses l’être qui fuit, that is, the lack that Lacan says cannot be completed or resisted, for an appositional fantasy of displacement. Here everything that is deemed black has to be made meaningful in apposition to ontology, but everything that is black must also, it seems, always return apposition to the white para of ontology; to be black and appositional would, it seems, produce only the disavowal of the philosophical genealogy that always already determines it.One would be right to distrust such claims—the moralism of the refusal, and the scandal of the faux resistance by which the para hides behind its own whited-out screen.In the third contribution to the dossier, the question asked is what would it mean for blackness to repair itself, to let go or retrieve and so redeem its own historical conjuncture? How do we refer to an irreparable past, that is, a past that keeps on coming back, but one that has no sign or signified, no memory that can recapture or reveal it, or simply rejoin us to it without remainder? Rinaldo Walcott’s essay, “‘Retrospective Significance,’” revisits the reparations debate as a question of black being. Instead of repair, he finds desolation and emptiness, or what he calls a staggeringly incoherent rhetoric of coherency. It’s a paradox that addresses what it means to remember or to forget a nothing; if blackness is nothing, how does one reconnect with it, bond with it, compensate it in its historic devastation? What would it mean to receive meaning from such devastation, to express it if this nothingness is absolute, or absolutely valueless? If ontology is a structure, then blackness, Walcott suggests, expresses nothing less than a “slave-ness” that continues to confront and disturb us absolutely, irrevocably. As such slave-ness is the trace that remains as a sign of the irreparable. As a trace, and not a sign, slave-ness becomes the primordial signifier of being, nation, history, and diaspora. But it is what makes it irrecuperable that defines its value and difficulty for the very language of reparation. Walcott pursues this difficult, enigmatic thread through the work of black thinkers on diaspora and identity. He concludes: black being cannot be dissociated from the disturbance it offers value, conscience, and any thought of alterity.The final and fourth contribution returns to the question of blackness as the trace or thread (the monstration) of being. How does one follow the thread (montrer) of blackness if it is always already withdrawn from being? David Marriott’s essay, “Ontology and Lalangue,” evokes Lacan’s concept of lalangue in pursuit of this enigmatic equivocation between letter and signifier, philosophy and psychoanalysis. Showing how both discourses have sought to master this exorbitance as master and/or free it as slave, I show how blackness is extinguished by the very words used to precipitate it into being. The slavish audacity of this lalangue is then shown to disarticulate, or more exactly, withdraw from ontology, but only so that whiteness can be presented and proclaimed all the more as the un-representable truth and logic of Dasein. This way of excluding blackness while preserving whiteness is not only central to philosophical and psychoanalytic understandings of language, Marriott argues, but this way of manifesting itself without manifesting itself is also crucial to the racialization of the logos as such.What is essential here is the way a meaning that is beyond meaning or representation is inserted into a problematic of mastery and servitude that advances-conceals a racial genealogy but in ways that makes the being of blackness an enigma. As such, blackness becomes an exorbitance that is always effaced in its monstration. More, its revelation must necessarily be unrecognized as the very locus of knowledge and truth. In that sense, what would it mean to figure, or to speak, this n’est pas without the consolation of being, meaning, truth, or logic? What would it mean to represent it as situated or defined by the language of ontology? Is black speaking being always in a relationship to and simultaneously the manifestation of a lalangue of lalangue? (shrink)

This article focuses on the work of Black and Asian women playwrights in Britain and examines their position as constitutive subjectivities in contemporary British culture. It suggests that recent developments in theatre studies such as the emphases on the postcolonial, intercultural, world theatre and performance art, which have emerged simultaneously with these playwrights’ work and might have offered some critical reception of their work, have not done so because of their maintenance of a colonial cultural imaginary that is more (...) engaged with the elsewhere and the ‘other’ than with the here and now and the diasporic reality of contemporary Britain. Utilizing Avtar Brah’s concept of the ‘diaspora space’, the article argues that Black and Asian women playwrights’ work in Britain not only demands an interrogation of British theatre as a ‘white’ space but also asks that we accept Britain as a diasporic space. (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)

In this article, I read Chester Himes' Blind Man With a Pistol as the work of an African- American writer who takes Harlem to be a colonial space, and who attempts to think through the ways that are available for him to contribute to some degree of liberation for its black residents. I suggest that there are strong parallels between Himes' position and that of African philosophers, and that Himes' self critique is instructive. I read this against Derrida's thoughts (...) on monolingualism and philosophy as a community of the question, asking what learning the language that is not one's own and what induction into the community of the question entail for the marginal, those who I describe as being from neither Athens nor Jerusalem. I conclude by offering my response to what I take to be our inescapable colonial lot: poetry and laughter. (shrink)

The Psychosis of Race offers a unique and detailed account of the psychoanalytic significance of race, and the ongoing impact of racism in contemporary society. Moving beyond the well-trodden assertion that race is a social construction, and working against demands that simply call for more representational equality, The Psychosis of Race explores how the delusions, anxieties, and paranoia that frame our race relations can afford new insights into how we see, think, and understand race's pervasive appeal. With examples drawn from (...) politics and popular culture--such as Candyman, Get Out, and the music of Kendrick Lamar--critical attention is given to introducing as well as explicating on several key concepts from Lacanian psychoanalysis and the study of psychosis, including foreclosure, phallus, the Name-of-the-Father, sinthome, and the objet petit a. By elaborating a cultural mode to psychosis and its understanding, an original and critical exposition of the effects of racialization, as well as our ability to discern the very limits of our capacity to think through, or even beyond, the idea of race, is provided. The Psychosis of Race speaks to an emerging area in the study of psychoanalysis and race, and will appeal to scholars and academics across the fields of psychology, sociology, cultural studies, media studies, and the arts and humanities. (shrink)

Existe-t-il une porosité naturelle entre les Black Studies et les Cultural Studies? D’un bout à l’autre de l’océan atlantique, d’une expérience américaine à une expérience britannique, ces deux champs peuvent-ils aller au-delà de l’emprunt ponctuel d’outils et de concepts qui marquent aujourd’hui les démarches dites « interdisciplinaires »? Cette contribution discute de la flexibilité théorique et méthodologique des Black Studies vis-à-vis des Cultural Studies. J’argue que cette connexion apparemment logique entre deux studies se heurte à l’histoire des (...) class='Hi'>Black Studies, pensées comme un champ voire une discipline dont l’institutionnalisation et la définition d’une démarche propre ont participé de sa reconnaissance politique. Malgré leur glissement vers les études africana et diasporiques au début des années 1990, les Black Studies demeurent un champ constitué encore peu perméable à d’autres studies. Enfin, je discute des African Diaspora Studies et les Black Cultural Studies comme troisième voie à l’intersection des Black Studies et des Cultural Studies. (shrink)

Existe-t-il une porosité naturelle entre les Black Studies et les Cultural Studies? D’un bout à l’autre de l’océan atlantique, d’une expérience américaine à une expérience britannique, ces deux champs peuvent-ils aller au-delà de l’emprunt ponctuel d’outils et de concepts qui marquent aujourd’hui les démarches dites « interdisciplinaires »? Cette contribution discute de la flexibilité théorique et méthodologique des Black Studies vis-à-vis des Cultural Studies. J’argue que cette connexion apparemment logique entre deux studies se heurte à l’histoire des (...) class='Hi'>Black Studies, pensées comme un champ voire une discipline dont l’institutionnalisation et la définition d’une démarche propre ont participé de sa reconnaissance politique. Malgré leur glissement vers les études africana et diasporiques au début des années 1990, les Black Studies demeurent un champ constitué encore peu perméable à d’autres studies. Enfin, je discute des African Diaspora Studies et les Black Cultural Studies comme troisième voie à l’intersection des Black Studies et des Cultural Studies. (shrink)

ABSTRACT This article argues that the aesthetic practices of black women stand-ups in South Africa take up the concrete ways black people all over the world use performances, within theatrical or everyday practices, to create, shape, and transform their worlds. Reading stand-up as a genre of diaspora culture meant to contend with issues of antiblack racism, economic and social marginalization, and the legacy of colonialism, this article examines the ways humor and comedy manifest transnational intimacies and affinities (...) via the circulation of black women's comic culture. Black women's stand-up comedy enables us to orient our understanding of the inextricable link between aesthetic choices and diaspora as the locus of the production of blackness, and as a particular sensibility rooted in the struggle against colonialism, antiblack racism, and the struggle for human rights and recognition. (shrink)

Providing an accessible examination of ethics, Doing Ethics in Media, introduces students to ethical theory and provides a grounded discussion of ethics in the context of today's media outlets. Emphasizing the understanding of ethics, the text will help readers 'do ethics' expeditiously, honestly, and efficiently when they enter the workplace and need to make critical ethical decisions on deadline. The text is organized around six decision-making questions, and cases demonstrate the application of these questions to real-world scenarios. Each chapter focuses (...) on a specific ethical theory or issue, with a thorough discussion of the key points accompanied by practical applications, demonstrated through references to classic and contemporary issues in media. Student voices are heard throughout the book, illustrating how they have grappled with and applied the concepts in their own worlds and in the media. Distinctive features include: a new approach to ethical decision making through the "5W's and H" questions that serve as the book's framework; discussions and case studies aimed at five media disciplines: journalism, new media, advertising, public relations, and entertainment. Cases engage students at early stages of their careers, and consider that most students will change careers several times comprehensive materials on classic moral theory and current issues such as truth telling and deception, values, persuasion and propaganda, privacy, diversity, loyalty, moral development, and codes of ethics user-friendly approach throughout the book challenges students to think for themselves rather than imposing answers on them connects the model or theory to every decision-making challenge (44 cases and dozens of practical applications) a Companion Website with ancillary materials for students and for instructors (including a test bank and instructor's manual). This text has been written for undergraduates and graduate students studying media ethics in mass media, journalism, and media studies. It also will serve students in rhetoric, popular culture, communication studies, and interdisciplinary social sciences"--Provided by publisher. (shrink)

: It is argued here that part of the attraction of African music in the Atlantic Diaspora is its roots in an oral tradition in which agency is often more important than words. This makes it possible for the music to have a moral significance, not merely with respect to the verbal content of the words of songs but also with respect to the manner in which it is composed and performed. As such, a performance may be liberating, even (...) when the words used in the performance are not. By reinforcing elements of the oral tradition in a culture based on notational literacy, the music of the Black Atlantic exemplifies an alternative to ideals embodied in a technological culture. (shrink)

Everyone's favorite houseguest who never left, Leon Black (played by award-winning comedian JB Smoove on HBO's Curb Your Enthusiasm) drops his wisdom and good-bad advice for the masses. Learn the secrets Larry David has gleaned from the Falstaff of television."--Amazon.

This article is about the information relevant to decision-making capacity in refusal of life-prolonging medical treatment cases. We examine the degree to which the phenomenology of the options available to the agent—what the relevant states of affairs will feel like for them—forms part of the capacity-relevant information in the law of England and Wales, and how this informational basis varies across adolescent and adult medical treatment cases. We identify an important doctrinal phenomenon. In the leading authorities, the courts appear to (...) count the first-personal phenomenology of the available options among the information that adolescents seeking to refuse life-prolonging treatment must understand and appreciate in order to possess capacity; adults are not held to this (higher) standard. We evaluate this differential treatment in light of philosophical work on transformative choice—decisions involving options whose sensory character, and effect on our values and preferences, are grasped only through experience itself. (shrink)

The myth of the myth of transparency - Where do bodies end and objects begin? -- Beside ourselves -- Aesthesiogenesis -- Real time.

Promises -- Offer and acceptance -- Obligation -- Practical reason -- Intention and other topics -- Intervention by the state -- Contract -- Competition -- Conspiracy.

Style: A Queer Cosmology considers artists and critics whose work defines style as that which eludes paraphrase or social scientific categorization; rather, they show style to be the attributes that make us all more like ourselves and less like each other.

This essay examines the importance of decolonization theory/practice outside of Latinx and indigenous literatures to understand how the African diaspora has produced rhetorical and philosophical interventions that have been understudied and ignored. The books reviewed all contribute to understanding the limitations of Western, white humanism through the concepts: Black reason, the undercommons, racial liberalism, the idea of the spill, and ontological terror. These texts function as entrees into a deep excavation of the limits of Kantian freedom and Rawlsian (...) justice that recenters anti-Blackness as an animating force of governmentality (particularly governmental structures and regimes that enforce possibilities of life and death), rhetorical invention, and philosophical engagement. (shrink)