Cet article a déjà paru dans la Revue d'histoire des chemins de fer, n° 42-43, 2012, que nous remercions, ainsi qu'Hortense Soichet, de nous avoir gracieusement autorisé à le reproduire ici. Les évolutions techniques relatives aux modes de transport ont donné naissance à de nouvelles appréhensions possibles de la perception, conditionnées par le mouvement de la machine. Au sein d'un train, la vision est dépendante de la vitesse de déplacement et modifie le mode de perception des images grâce (...) à la (...) - Arts plastiques et autres – GALERIE – Nouvel article. (shrink)

In the triumvirate of personalities and motives—from Wright and Baldwin to Coates—we encounter the essential elements of the “crisis” that configures black passage in the New World. These lines of kinship, both consanguineous and ineffable, travelling from father to son, from uncle to nephew, from one generation to the next, lend us a figurative rhythm that grasps the notion of the processional —the traversal of time and space that remains fundamentally mysterious, just as we can put our finger directly on (...) the problem—black life is still as endangered and precarious as it ever was. If one regards such passage as a “crisis,” then it is precisely because it is riddled with turning points, sudden ruts and rifts in the road when the way seemed smooth and clear—those moments when decisions must be made—and from that perspective, African-American cultural apprenticeship offers, by definition, crisis not as a state of exception, but rather, as a steady state, given historical pressures that bear in on it and that become, as a result, intramural pressures. What I wish to do in these remarks is to clarify one of the questions engendered by this predicament, and that is to say, the riddle of identity and how it matters, but even more than an inquiry into the identitarian, I am searching for a protocol through intramural space. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Tale of Three Zoras:Barbara Johnson and Black Women WritersHortense J. Spillers (bio)Talking about Zora Neale Hurston is like approaching the Sphinx—so much riddle, so many faces, and all of it occurring on fairly high holy ground since Alice Walker's remarkable discovery a couple of decades ago.1 But Barbara Johnson's criticism cracks the code on Her Majesty and brings the sign vehicle—"Zora Neale Hurston"—to the table of juxtapositions and (...) comparisons. There is the iconic Hurston, whose positioning between the Harlem Renaissance2 and the post-World War II writers gives her a priority of status that marks the woman artist's entry into literary modernism. The latter, in its variety of contexts and alignments, opened the way to certain experimental forms for these writers and might not have been completed as a systematic gesture before the late sixties and early seventies, when this generation of practitioners was free to create antiheroic figures and to probe the limits of representability. In short, with Zora Neale Hurston a window is pried open, a breeze blows through, and by the time of Toni Morrison's Beloved, an opening has become a prospect, a landscape of vistas of possibility. We can think of Hurston, then, as an enabler, who was not particularly encouraged by the literary politics of her age, from first to last; whether by the "maledom" of Harlem Renaissance avenues to reward and achievement, or by the paradigm shift of race politics in the 1950s,3 Hurston seems to have been equipped with the uncanny ability to create a kind of chaos, to behave outside the parameters of fashion, and to create dimensions of the mythical about her as she modeled versions of self.In her role as classically trained anthropologist and folklorist, Hurston is considered today one of the major theoreticians of black culture.4 Her collections of lore, a [End Page 94] motherlode of a southern-centered orality,5 of the countryside, are fruitfully poised against the displaced metaphysical traditions of discourse that we especially associate with figures like Alain Locke and W. E. B. DuBois.6 As it now appears, the oppositional currents that run between the Hurstonian and the DuBoisian figurations have yet to be reconciled: the latter is text-based, and the former exceeds the abiding centrality of the word. Barbara Johnson argues in A World of Difference that Hurston "tried to explain the difference between a reified 'art' and a living culture in which distinctions between spectator and spectacle, rehearsal and performance, experience and representation are not fixed" [159]. For Hurston, folklore was "'the arts of the people before they find out that there is such a thing as art.'" For Hurston, unlike DuBois, for example, black culture was not a project in the modality of Bildung, or the Hegelian notion, but, rather, a repertoire of gestures that might be said to belong to a second skin—the kinetic thing that is done or said.From our current perspective, what Hurston called "folklore" and what offered the occasion for the ethnographic foray might be given other names, though renaming these acts and gestures of the everyday does not make it any easier to reconcile the conceptual split in black culture theory between textuality and orality, or between "urban" and "countryside." But all of these locutions have been essentially eviscerated by radical changes in the availability and transmission of consumer goods that have rendered US local and indigenous cultures virtually indistinguishable from Jackson, Mississippi to Boston, Massachusetts. Take any interstate network across the land, east to west, or north to south: between McDonald's and the food/gas mart, scattered along ten- to twenty-mile sequences of roadway, one is quite astonished at the sameness and homogeneity of motifs that have translated particularity into an item of commerce and exchange. At one time, the critics were calling this outcome the postmodern flow, but my own hunch is that this apparent repetition and replication of the same are riddled with a variety of timbres and accents, still, that the Hurston ear was so sharp to articulate and define six decades ago. And in that intricate choreography between the life... (shrink)

Dans la seconde moitié du me siècle britannique, le nombre de textes traitant des rapports entre l'esprit et le corps est particulièrement conséquent. Cette époque est caractérisée par la formulation de la théorie de l'évolution de Darwin, par l'émergence des sciences du cerveau, et par une lutte pour l'autorité intellectuelle entre les élites traditionnelles et certains hommes de science. Le problème des rapports de l'esprit et du corps constitue à nos yeux une nouvelle porte d'entrée dans les débats de cette (...) époque et nous a permis d'identifier un mouvement philosophique, la philosophie psychophysiologique victorienne. Les auteurs étudiés sont les suivants : T.H. Huxley, Tyndall, Clifford, Maudsley, Bain, Carpenter, Lewes et Romanes"--Page 4 of cover. (shrink)

In the second half of the nineteenth century, in Great Britain, a group of scientists decided to challenge the intellectual authority of theologians and clergymen. Because of the recently discovere...

Healthcare providers have been central actors in containing the COVID-19 pandemic. Although potentially very beneficial, the implementation of large-scale rapid serological tests raises ethical dilemmas and affects HCPs’ capacity to work in optimal conditions. In this regard, we call for attention to address specific and urgent ethical issues distinctively affecting HCPs following the availability and possible mandatory use of rapid serological tests for COVID-19.

This special issue of _boundary 2_ revisits the 1960s through a global and multidisciplinary lens. It treats the decade as a global historical event, comprising decolonization, liberation, revolution, and movements against various establishments. Engaging questions of history and temporality, this issue illustrates that continued exploration and consideration of the 1960s around the world are crucial to a critical engagement with the present. Contributors to this issue represent a wide range of disciplines, from Latin American studies and sociology to political theory (...) and literary criticism. They bring a global perspective to the social and political legacy of the 1960s, touching on the Caribbean, Latin America, the former USSR, China, and France, as well as the United States. One contributor presents a reexamination of Latin American armed struggles in the 1960s that foregrounds the relatively positive influence of these struggles on present-day Latin American society and politics. Another contributor translates a seminal essay on José Martí written by one of Cuba’s foremost intellectuals in the mid-1960s, when the course of the Cuban revolution was still uncertain. Yet another contributor considers the forces that have sought to neutralize the struggles and negate the gains of the African American liberation movement in the 1960s American South. _Contributors_. John Beverley, Anthony Bogues, Christopher Connery, Roberto Fernández Retamar, Wlad Godzich, Boris Kagarlitsky, Nina Power, Hortense Spillers, Silvia D. Spitta, Alberto Toscano. (shrink)

L'étude Partir-Revenir analyse les rythmes de l'habiter à travers l'absence domestique, ces moments où tout ou partie des habitants partent de chez eux pour le travail ou les loisirs, et qui influencent les manières dont ils investissent leurs maisons. L'absence à la croisée des rythmes de l'habiter et de la mobilité Menée par le sociologue Benjamin Pradel et la photographe Hortense Soichet, elle a bénéficié du soutien de Leroy Merlin Source et du Forum Vies Mobiles dans un partenariat (...) articulant, dans - Sociologie – Nouvel article. (shrink)

L'étude Partir-Revenir analyse les rythmes de l'habiter à travers l'absence domestique, ces moments où tout ou partie des habitants partent de chez eux pour le travail ou les loisirs, et qui influencent les manières dont ils investissent leurs maisons. L'absence à la croisée des rythmes de l'habiter et de la mobilité Menée par le sociologue Benjamin Pradel et la photographe Hortense Soichet, elle a bénéficié du soutien de Leroy Merlin Source et du Forum Vies Mobiles dans un partenariat (...) articulant, dans - Sociologie – Nouvel article. (shrink)

Not all homo sapiens are human subjects. This paper explores the lived experience of homo sapiens but not human that I call “lived flesh.” A lived experience/distinction that shouldn’t be possible on Merleau-Ponty’s account of human subjectivity in Phenomenology of Perception and “The Intertwining – The Chiasm.” The use of flesh is deliberate and emerges from my engagement with Merleau-Ponty’s Phenomenology of Perception and “The Intertwining – The Chiasm” through Toni Morrison’s Beloved, Hortense Spillers’ “Interstices: A Small Drama of (...) Words” and “Mama’s Baby, Papa’s Maybe: An American Grammar Book,” Amber Musser’s Sensual Excess: Queer Femininity and Brown Jouissance, and Audre Lorde’s Zami: A New Spelling of My Name. The affective, experiential, and ethical practices of american Blackwomxn in these texts problematize Merleau-Ponty’s account of human subjectivity and his account of the generality of Being (“The Intertwining – The Chiasm”). Merleau-Ponty’s effacement of raced, sexed, and gendered difference results in a construct of the human subject that cannot include all homo sapiens. (shrink)

Hortense Spillers ends “Mama's Baby, Papa's Maybe” with a provocative suggestion: “Actually claiming the monstrosity … ‘Sapphire’ might rewrite after all a radically different text for female empowerment.” In this article, I knead the material, representational, and performative powers operating through conceptually separate and yet deeply entangled contested terrains: the “real,” or the scene of “actual mutilation,” whose high crimes against the flesh coincide with the construction of the “symbolic.” Through Baradian performativity, I read Spillers's theorization on the name (...) as an event wherein proprietary relationships, which necessarily oscillate between material/signification binaries, are called forth in historical terrain in the moment of racial address. Paying close attention to her grammar, the first half of this article tracks Spillers's movement through an undercurrent of American historical mythology that, as she demonstrates, misnames the black mother. The rest of this article then takes up to what extent certain “mocking doubles”—minstrel and/or monstrous tropes resuscitated but not redeemed or even necessarily renamed—might agitate their way toward new texts for female empowerment and the cultivation of the black mother's power to “name.”. (shrink)

In conversation with Hortense Gallois’ recent essay on the importance of bioethicists participating in public discourse, I suggest that speaking up is as fraught as it is important. Focusing on the anti-trans movement’s misuse of expertise, I highlight the fine line between correcting misinformation and inadvertently causing harm through ill-timed speech. Drawing on the work of Eva Feder Kittay, I suggest that knowing when to speak up and when to stay silent starts with understanding the communities we speak about (...) and the consequences that our words can have on them. (shrink)

This article takes up Hortense Spillers’ conception of ‘ungendered’ flesh and Saidiya Hartman’s notion of the ‘position of the unthought’ occupied by the figure of the Black-qua-Slave in order to explore their resonance for considering the interrelations between anti-black racial antagonism, ontological positioning and hegemonic renderings of gender formation and sexual taxonomies. Examining the performance and reception of the recent Broadway revival of Hedwig and the Angry Inch starring Taye Diggs as a case study, it asks what role race, (...) and specifically (anti-)blackness, plays in the representation, recognition and intelligibility of proper, (non-)normative gendered corporealities within the dominant imaginary and collective unconscious. (shrink)

This article argues that María Lugones's articulation of decolonial feminism, as a theory and potential political praxis, both disappears Blackness and subjugates African American women—their scholarship, their language, and the materiality of their Black “flesh”—within the same subordinate position the coloniality of gender decries. Expanding Hortense Spillers's concept of “pornotroping,” this article puts into relief the ideological and rhetorical investments in deploying the figure of the Black woman to institute an argument about gender, but only to erase this figure (...) from the political and affective registers of its theorization. This essay argues that Lugones's theorization of decolonial feminism effectively reifies the libidinal dynamics it denounces: turning Africans into captives, into commodities for use and abuse. It questions the camouflaging and decontextualization of Black feminist interventions that consider the singularity of antiblack violence as a model for thinking about violence as a phenomenological and ontological global order, critiquing the category of gender incipit to the process of enslavement and colonialism that ushers in the very modernity that decoloniality frames itself against. (shrink)

Abstract:In this article I stage an encounter between Adriana Cavarero's account of uniqueness and Hortense Spillers's account of the flesh. Doing so is valuable for two reasons: First, it forces Cavarero's thought to consider not only the exclusion of women from the Western tradition, but also the anti-Blackness foundational to this tradition. This both expands and contorts Cavarero's thought, affirming her key claims while also altering them in the process. Second, reading Cavarero and Spillers together allows me to explore (...) the way forms of life that evade representation can be known. Both uniqueness and the flesh are evasive of representation; by reading them together—supplementing Cavarero's consideration of the embodied character of uniqueness with Spillers's distinction between body and flesh—I develop an account of apprehension that emphasizes touch as a way of knowing apart from representation. Apprehension takes seriously the ambivalence in Spillers's account of the flesh, whereby it is both revealed through violence as well as through practices of care, which, as Saidiya Hartman has made clear, are often in a proximate relation in the ongoing legacies of transatlantic slavery. (shrink)

Argues for postcoloniality as a model for philosophical practice. In this ambitious book, Namita Goswami draws on continental philosophy, postcolonial criticism, critical race theory, and African American and postcolonial feminisms to offer postcoloniality as a model for philosophical practice. Moving among and between texts, traditions, and frameworks, including the work of Gayatri Spivak, Theodor Adorno, Barbara Christian, Paul Gilroy, Neil Lazarus, and Hortense Spillers, among others, she charts a journey that takes us beyond Eurocentrism by understanding postcoloniality as the (...) pursuit of heterogeneity, that is, of a non-antagonistic understanding of difference. Recognizing that philosophy, feminism, and postcolonial theory share a common concern with the concept of heterogeneity, Goswami shows how postcoloniality empowers us to engage more productively the relationships between these disciplines. Subjects That Matter confronts the ways Eurocentrism, an identity politics that considers difference as inherently oppositional, relegates minority traditions to a diagnostic and/or corrective standpoint to prevent their general implications from playing a critical and transformative role in how we understand subjectivity and agency. Through unexpected, often surprising, and thought-provoking analytic connections and continuities, this book’s interdisciplinary approach reveals a postcolonial pluralism that expands philosophical resources, confounds and limits our habitual disciplinary lexicons, and opens up new areas of inquiry. “This is a groundbreaking contribution to a number of distinct but intersecting fields.” — Amy Allen, author of The End of Progress: Decolonizing the Normative Foundations of Critical Theory. (shrink)

This article discusses the imbrication of racialising and sexualising scientific practices of gender testing and verification in elite athletics competition, and their intersection with social politics, using as a theoretical frame the feminist, anti-racist work of Hortense Spillers (2003), Judith Butler (1990, 1993a, 1993b, 2004) and Anne Fausto-Sterling (2000), among others. It traces the practice of sex-gender testing of ‘women’ at sanctioned International Association of Athletics Federations (IAAF) and International Olympic Committee (IOC) track and field competitions in order to (...) contextualise South African middle-distance runner Caster Semenya’s experiences at the 2009 Berlin World Championships and the subsequent spectacularisation of her body through the discursive practices of representation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 44, no. 3. © 2018 by Feminist Studies, Inc. 699 Jennifer C. Nash The Political Life of Black Motherhood In 1976, Adrienne Rich wrote, “We know more about the air we breathe, the seas we travel, than about the nature and meaning of motherhood.”1 In the four decades since the publication of Rich’s now-canonical Of Woman Born, Andrea O’Reilly has argued for the advent of “maternal theory” (...) as an academic discipline, the maternal memoir has become a highly popular (and profitable) literary genre, and there has been sustained attention to maternal activism with scholarly analyses of such organizations as Mothers Against Drunk Driving and Mothers of the Movement.2 If Mamie Till Bradley boldly “let the world see” her son’s mutilated body in a 1955 public plea to make visible black suffering and antiblack violence, Valerie Castile’s statement after a jury found a police officer not guilty in the death of her son continued in the tradition of 1. Adrienne Rich, Of Woman Born: Motherhood as Experience and Institution (New York: W. W. Norton, 1995), 11. 2. See Andrea O’Reilly, ed., Maternal Theory: A Reader (New York: Demeter Press, 2007); Ann Hulbert, “The Real Myth of Motherhood,” Slate, March 8, 2005; Jennifer C. Nash and Samantha Pinto, “Strange Intimacies: Reading Black Mothering Memoirs,” Public Culture (forthcoming); Danielle Poe, Maternal Activism: Mothers Confronting Injustice (Albany: SUNY Press, 2016); and Ruth Feldstein, Motherhood in Black and White: Race and Sex in American Liberalism, 1930–1965 (Ithaca, NY: Cornell University Press, 2000). 700 Jennifer C. Nash Books Discussed in This Essay Revolutionary Mothering: Love on the Front Lines. Edited by Alexis Pauline Gumbs, China Martens, and Mai’a Williams. Oakland, CA: PM Press, 2016. Laboring Positions: Black Women, Mothering and the Academy. Edited by Sekile Nzinga-Johnson. Bradford, ON: Demeter Press, 2013. How All Politics Became Reproductive Politics: From Welfare Reform to Foreclosure to Trump. By Laura Briggs. Oakland: University of California Press, 2017. Birthing Justice: Black Women, Pregnancy, and Childbirth. Edited by Julia Oparah and Alicia Bonaparte. New York: Routledge, 2016. making black (male) pain visible through grief-stricken black motherhood. Castile said, My son loved this state. He had one tattoo on his body and it was of the twin cities, the state of Minnesota with “TC” on it. My son loved this city, and this city killed my son and the murderer gets away.... We’re not evolving as a civilization, we’re devolving, we have taken steps forward, people have died for us to have these rights and now we’re devolving, we’re going back to 1969.3 Her emotional plea reveals the political currency of black maternal suffering, one of the few spaces in which black pain is readily culturally visible. Indeed, there has been intensified scholarly and popular interest in representing black motherhood as both a site constituted by grief and expected loss and as a political position made visible (only) because of its proximity to death. It is certainly the case that a cultural inattention to motherhood has been replaced by an intense investment in representing at least some aspects of “the nature and meaning of motherhood” and 3. “Philando Castile’s Mother Reacts to Verdict,” Washington Post video on YouTube, posted on June 16, 2017, https://www.youtube.com/watch?v=RJsD4cCpUA. Jennifer C. Nash 701 in representing certain mothers—particularly black mothers—as symbols of trauma and injury, of pain that can be mobilized for “legitimate” political ends and social change. If, as O’Reilly suggests, maternal theory is now a distinct field, it has been fundamentally shaped by the intellectual and political labor of black feminists—Dorothy Roberts, bell hooks, Alice Walker, Patricia Hill Collins, Hortense Spillers, and Audre Lorde—who have captured the myriad ways that black maternity is cast as pathological, excessive, and marked by aberrant performances of gender and heterosexuality that threaten both the nuclear family and the heterosexual state. Drawing on a varied archive from the Moynihan Report to cultural panics about “kids having kids,” from ongoing representations of black women’s “failure” to breastfeed as a public health crisis to the racialized underpinnings of birth control, black feminist theory... (shrink)

In “Mama’s Baby, Papa’s Maybe: An American Grammar Book,” Hortense Spillers draws a parallel between the discursive and material field of violence that assisted in the production of the captive body. She asks: “We might well ask if this phenomenon of marking and branding actually ‘transfers’ from one generation to another, finding its various symbolic substitutions in an efficacy of meanings that repeat the initiating moments?” In response to her inquiry, this paper presents a theory of “transfer” of hieroglyphics (...) from one generation to another through a semiological reading of language and myth. This theory of “transfer” will ultimately argue that because language must be iterable, and thus communicable in different contexts, black time is structured by both continuity and severe disjunctures that perform a series of symbolic substitutions for use outside of their initiating moments. (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)

In light of Ruth Wilson Gilmore’s call that abolition means to “change everything,” how might we understand an abolitionist literary method? An abolitionist literary method dials into the language of critiquing prisons. This essay contends that recent developments in U.S. discourse concerning prison reform and prison abolition rely on the distinction between metaphor and metonymy. As rhetorical tropes, metaphor and metonymy both operate by means of figurative language. Metaphor creates a parallel formation between terms, popular in prison reformist language (i.e. (...) “prison as labor,” “prison as slavery,” “schools as prisons,” or “black holes as prisons”), while metonymy demonstrates a network between materially related sites, persons, and objects (as in “flesh,” “black holes,” or “the Prison Industrial Complex”) more central to the rhetoric of prison abolition. Following Emily Apter’s critique of Fredric Jameson’s “carceral metaphors,” I demonstrate these distinctions between metaphor-reform and metonymy-abolition through textual analysis of a Black feminist archive by considering the work of Ruth Wilson Gilmore, Hortense Spillers, Saidiya Hartman, George Jackson, Evelynn Hammonds, and Assata Shakur. These different thinkers employ metonymy to illuminate theoretical possibilities for abolition through economics, flesh, motherhood, intimacy, sexuality, and physics over a period of thirty years. That being said, none of these writers define their work by the principal status given to metonymy, and this essay seeks to bring together their interventions through this rhetorical trope. I propose that abolition’s stretch through metonymy is central to an abolitionist literary method, provoking the animated reconsideration of language-use by scholars and activists. While not eliding metaphor entirely, this historical materialist work demonstrates that the careful elaboration of words and phrases becomes more robustly anti-carceral when one indexes where, how, and why metaphor and metonymy contract or extend imaginative political possibility. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Becoming Human: Matter and Meaning in an Antiblack World by Zakiyyah Iman JacksonBernabé S. Mendoza (bio)Zakiyyah Iman Jackson, Becoming Human: Matter and Meaning in an Antiblack World New York: By New York University Press, 2020, 320 pp. ISBN 978-1-4798-9004-0the radical work of black feminism is to upend Western dualistic ways of thinking that structure our understanding of what it means to be human. In Becoming Human: Matter and (...) Meaning in an Antiblack World, Zakiyyah Iman Jackson troubles the dominant dualistic distinction of the human and the animal. Jackson argues that antiblackness undergirds Enlightenment discourses on the human-animal divide such that blackness cannot be extricated from the very concept of the animal because both “are not only interdependent representations but also entangled concepts” (28). Central to Jackson’s argument on the animalization of blackness is the notion of “ontologized plasticity,” which posits the being of black(ened) people as infinitely malleable and mutable matter and further points to the fluidification of form and “fleshly existence.” Far from seeing the human as a category that has “ontological integrity,” as scholars in the fields of animal studies, new materialisms, and posthumanism presuppose, Jackson instead seeks to redefine the concept of the human through the theorization of blackness (16). She points out that such theorization has been, for such scholars, a lacuna and the “space of the unthought,” which thus marks her intervention in these fields. [End Page 211]The author offers a sustained engagement with the knowledge claims of science and philosophy, reading them through and against the intellectual contributions of black feminist writers and artists. She draws from such luminaries as Toni Morrison, Nalo Hopkinson, Octavia Butler, Audre Lorde, and the artist Wangechi Mutu to show the ways in which they reject an enclosed notion of the human that is defined only by keeping the racialized other at bay and in a degraded animalized and liquified state. As such, she showcases how black feminist visual and literary culture “theorizes and philosophizes” and reveals the faulty, antiblack premises upon which science and philosophy establish their claims of knowledge on the human.Offering a materialist theory of black ontology and temporality, Jackson poses three main arguments on the racialization of the human-animal distinction. The first is the aforementioned notion of ontologized and black(ened) plasticity that speaks to the constant modulation and manipulation of black matter as it relates to gender, sexuality, and sexual reproduction. Reading US slavery as an experimental playground for testing the limits of the human, Jackson argues that “black female f lesh... functions as the limit case of ‘the human’ and is its matrix-figure” (4). She defines plasticity as a “praxis that seeks to define the essence of a black(ened) thing as infinitely mutable in antiblack, often paradoxical sexuating terms as a means of hierarchically delineating sex/gender, reproduction, and states of being more generally” (11). There is, in other words, an inversion that takes place in that it is only through opposition and the imposed instability and illegibility of blackness—of black matter and the black mater(nal) situated as “chaos by design”—that such categories as “woman,” “mother,” and “female body” can themselves take hold and become intelligible forms (11). Jackson engages with the work of Hortense Spillers and Sylvia Wynter in order to argue that “Man,” as the object of analysis within liberal humanism, “produces an untenable dichotomy—‘the human’ versus ‘the animal,’ whereby the black(ened) female is posited as the abyss dividing organic life into ‘human’ or ‘animal’ based on wholly unsound metaphysical premises” (12). This claim on the centrality of the black female in the plasticization of blackness is given support in chapter 2, which focuses on Nalo Hopkinson’s speculative novel Brown Girl in the Ring, where plasticity gives way to opacity.In this chapter, Jackson explores the ways in which the black female body, as that which is opaque and nonrepresentable within the “dominant grammar of representation,” shatters what she argues is Heidegger’s metaphysical and hierarchical ordering of human, animal, and world. In exploring “how our received conceptions of being hinges on our im/perception of black mater... (shrink)

An accessible introduction to cultural theory and an original polemic about the purpose of criticism. What is criticism for? Over the past few decades, violent disagreements over that question in the academy have burst into the news media. These conflicts have renewed the Culture Wars over the legacy of the 1960s, becoming entangled in national politics and leading to a new set of questions. Does a concern with race, gender, and sexuality, with unacknowledged power and privilege, with identity, give present (...) critics the right to criticize the great works of the past? If we have learned to see those works in terms of historical differences rather than universal truths, how is it that they speak to us at all? In the study of the world's cultures, there is more than one way to avoid being Eurocentric; which way should we choose? Re-examining key thinkers since 1970, including Walter Benjamin, Michel Foucault, Judith Butler, Edward Said, Hortense Spillers, Fredric Jameson, and Stuart Hall, Criticism and Politics offers both a non-specialist introduction to recent cultural theory and a strong new interpretation of how this theory applies to the everyday issue of what cultural critics do and how they should feel about what they do. (shrink)

In recent years, comparisons between abortion and slavery have become increasingly common in American pro-life politics. Some have compared the struggle to extinguish abortion rights to the struggle to end slavery. Others have claimed that Roe v Wade is the Dred Scott of our time. Still others have argued that abortion is worse than slavery; it is a form of genocide. This paper tracks the abortion = slavery meme from Ronald Reagan to the current personhood movement, drawing on work by (...) Orlando Patterson, Hortense Spillers, and Saidiya Hartman to develop a discourse of reproductive justice that grapples with the wounded kinship of slavery and racism. (shrink)

This essay explores notions of maternal desire within feminist psychoanalysis with an interest in challenging heteronormative frameworks of analysis. Providing close critical readings of texts by Jessica Benjamin, Julia Kristeva, Kaja Silverman and Hortense Spillers, I trace conceptual openings through which to interpret maternal sexuality as a mobile process of intersubjectivity that is grounded in changing historical relations of experience. I argue that Spillers’ approach transforms a critical process of reading desire away from the insularities and exclusions of conventional (...) psychoanalytic knowledges towards a democratic and reflexive process of representation and analysis. (shrink)

En 1983, Cedric J. Robinson introduit sous le titre d’une « tradition radicale noire », l’idée d’une généalogie spécifiquement africaine de la lutte contre l’esclavagisme, le capitalisme et l’impérialisme, distincte du marxisme européen. La pensée « afropessimiste»s’inspire d’Hortense Spillers pour mesurer les conséquences de la soustraction des Noirs aux ordres de l’humanité et de la subjectivité politique, en une violence qui convertit les vies africaines en chair. Le poète et théoricien africain américain Fred Moten revisite aujourd’hui ces pensées en (...) inventant un « optimisme noir », qui entend faire valoir l’ambivalence et l’ambiguïté de la noirceur, soulignant ses potentialités particulières et désignant dans « la chair » une possibilité de formuler de nouvelles formes de vie. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Differences Barbara Johnson Makes:IntroductionSusan Gubar (bio)On December 15, 2003, on the occasion of the publication of Barbara Johnson's Mother Tongues: Sexuality, Trials, Motherhood, Translation, Jonathan Culler, Jane Gallop, and Judith Butler spoke in a celebration at Harvard University. On December 28, 2004, Culler, Gallop, Lee Edelman, and Hortense Spillers spoke in an MLA session organized by Susan Gubar entitled "The Differences Barbara Johnson Makes." We publish these (...) five short talks as a tribute to a critic who has done so much to advance the sort of theoretical and critical practice to which Diacritics is committed.Although I was delighted to be invited to the Harvard University celebration in honor of the publication of Barbara Johnson's Mother Tongues: Sexuality, Trials, Motherhood, Translation, I was unable to travel on December 15, 2003. The misfortune of not hearing Jonathan Culler, Jane Gallop, and Judith Butler speak made me acutely aware of many other people who—whether or not they know Barbara Johnson personally—have found themselves intimately captivated and often oddly elated by her critical acumen. It seemed fitting to organize a session at the Modern Language Association open to all those colleagues in the profession who prize her translations, books, classes, and lectures. That these colleagues come from so many different departments and programs—English, French, and Comparative Literature; African-American, Gender, and Gay studies—testifies to the astonishing versatility of Barbara Johnson's scholarly contributions.After I introduced the four speakers on the December 28, 2004 panel—Jonathan Culler, Hortense Spillers, Lee Edelman, and Jane Gallop—I told the audience that I suspected each of them had a different favorite critical text or pedagogic moment. I meant not exactly a favorite text or moment, but really a sort of touchstone text or moment that instructs and delights us as a paradigm of what criticism can be at its most subtle, its most supple. No doubt this is why Mother Tongues won Honorable Mention in the competition for the Aldo and Jeanne Scaglione Prize for an Outstanding Scholarly Work in the Field of Comparative Literature Studies. Luminous clarity characterizes Barbara Johnson's engagement with the difficult differences she addresses in matters aesthetic and racial, sexual and ethical, linguistic and political, and always profoundly terrestrial. I am grateful that Jonathan Culler has integrated and published talks from both the events in honor of Barbara Johnson as, in his words, "a tribute to a critic who has done so much to advance the sort of theoretical and critical practice to which Diacritics is committed."Susan Gubar Susan Gubar is a Distinguished Professor of English and Women's Studies at Indiana University. She writes on race and gender issues in twentieth-century British and North American cultural contexts.Copyright © 2004 The Johns Hopkins University Press... (shrink)

What if our politics are shaped by the texture of wounds rather than the identity of selves? What possible future will have been opened up by posing that very question? I take up Eve Sedgwick’s invitation to begin with stigma “as a near-inexhaustible source of transformational energy” for a transformative queer politics and elaborate Sedgwick’s attention to spoiled identity through Hortense Spiller’s conceptualization of the flesh. The flesh substantiates the grounds for a materialist ontology that begins with stigma, the (...) materiality of the wound, to constitute a transformative politics toward a fugitive elsewhere. Reading Sedgwick and Spillers together opens up a transformative ontological register that spans the material, affective, and fugitive. I argue that the hieroglyphics of the flesh give us knowledge of ourselves and others and the world we have lived through but also invite us to transform who and what we are, how we relate, and what a world might look like where our being is not constituted by fugitive survival. I suggest that such hieroglyphics can be engaged by touching wounds understood as a haptic reading of textures impressed on our embodied being while paying attention to the lines of flight that erupt from the wound. (shrink)

Abstract:What if our politics are shaped by the texture of wounds rather than the identity of selves? What possible future will have been opened up by posing that very question? I take up Eve Sedgwick’s invitation to begin with stigma “as a near-inexhaustible source of transformational energy” for a transformative queer politics and elaborate Sedgwick’s attention to spoiled identity through Hortense Spiller’s conceptualization of the flesh. The flesh substantiates the grounds for a materialist ontology that begins with stigma, the (...) materiality of the wound, to constitute a transformative politics toward a fugitive elsewhere. Reading Sedgwick and Spillers together opens up a transformative ontological register that spans the material, affective, and fugitive. I argue that the hieroglyphics of the flesh give us knowledge of ourselves and others and the world(s) we have lived through but also invite us to transform who and what we are, how we relate, and what a world might look like where our being is not constituted by fugitive survival. I suggest that such hieroglyphics can be engaged by touching wounds understood as a haptic reading of textures impressed on our embodied being while paying attention to the lines of flight that erupt from the wound. (shrink)

This article aims to be what Jasbir Puar referred to as ‘an unfolding archive’. It makes a critical intervention at a historical crisis point as it is unfolding. It sets out to examine the logic that writes the relations between bodies, borders and kin during the political crisis that transpired at the border of Belarus and Poland in 2021. I think of this logic in terms of a ‘grammar’, drawing on the idea articulated by Hortense J. Spillers, where ‘American (...) grammar’ fleshes out the connection between slavery, kinship, nation-building and the processes of gendering. I examine the rubrics of the hegemonic national grammatics in contemporary Poland, which establishes who counts as kin and who belongs to the nation in the context of the border crisis. I offer the concept of ‘declining’ kinship to seek generative (im)possibilities to articulate affinities and solidarities running against the dominant system of reproductive nationalism. (shrink)

Drawing upon the work of various critical race theorists, including Frantz Fanon, Kevin Quashie, Hortense J. Spillers, Calvin L. Warren and Sylvia Wynter, this article suggests that if Blackness has historically been, and continues to be, cast outside of being and into being, or what Wynter terms désêtre, then for Blackness to give expression to itself and/or to prove (or improvise) its “aliveness” is a necessarily “poetic” process, given that poetry/ poiesis is the bringing into being of that which (...) previously did not exist. Looking at a range of films, including Arthur Jafa’s Dreams are colder than Death (USA, 2014) and Love Is the Message, The Message Is Death (USA, 2016), Barry Jenkins’s The Gaze (USA, 2021) and Paige Taul’s I am (USA, 2017), the article considers this cinematic poiesis in the light of Martin Heidegger’s philosophy of poetry, drawing out the structuring antiblackness at work in the latter and in modernity more generally, before suggesting that cinematically to present Blackness in a loving fashion/to love Blackness through film is what Denise Ferreira da Silva might term a radical and “poethical” gesture, using poetry to decolonise our white supremacist world. (shrink)

_Gendered Agents_, edited by Silvestra Mariniello andPaul A. Bové, presents essays by influential feminist theorists who challenge traditional Western epistemology and suggest new directions for feminism. By examining both literary and historical discourses, such critics as Gayatri Spivak, Hortense Spillers, and Lauren Berlant assess questions of sexuality, ethics, race, psychoanalysis, subjectivity, and identity. Gathered from various issues of the journal _boundary 2_, the essays in _Gendered Agents_ seek to transform the model of Western academic knowledge by restructuring its priorities (...) and values. In the introduction, Mariniello urges feminists to begin anew but take as their starting place the achievements of feminism and feminist theory: an understanding of language that considers the implications of silence, the motivation to decompartmentalize experience, and the acknowledgement that everything is political._ _Challenging both a canonical organization of knowledge and the persistently self-referential "ghettoization" of feminism, contributors subsequently tackle subjects as diverse as pre-Marxist France, the American fetus, black intellectuals, queer nationality, and the art of literary interpretation. _Contributors_. Lauren Berlant, Karen Brennan, Margaret Cohen, Nancy Fraser, Elizabeth Freeman, Carol Jacobs, Silvestra Mariniello, Larysa Mykyta, Laura Rice, Ivy Schweitzer, Doris Sommer, Hortense J. Spillers, Gayatri Chakravorty Spivak, Judith Wilt. (shrink)

Abstract:How do we think aesthetically with the gendered and fleshly life of blackness, which cannot be represented within modernity’s aesthetic regime, yet is everywhere “bound to appear”? How do we begin to approach the splayed corpus of blackness without recourse to a conceptual grammar for and from which blackness is the ultimate declension? These questions compel us to rethink the relationship between blackness and the aesthetic, and to consider the metaphysical violence which is given in and through a racial regime (...) of aesthetics that is indispensable to the reproduction of the modern world. Emphasizing the ways this aesthetic regime, and the antiblack metaphysics it endeavors to sustain, are predicated upon and imperiled by blackness, I argue that blackness is a problem of and for “the body.” This paper enters this problem through the quotidian operations of the visual and proceeds to interrogate the elliptical deconstruction of the body in the work of Jean-Luc Nancy, stressing the commonalities between Nancy’s philosophical gesture and the guiding tendencies of the recent “bodily turn” within the theoretical humanities. Reading Nancy and the bodily turn through Denise Ferreira da Silva and Calvin Warren’s critiques of the modern human subject and its genesis, I argue that philosophical and aesthetic inquiries which begin with the departure from the ontology of the proper body risk reinscribing that very same figuration by eliding the ontologically negated improper body, which bears the racial and gendered violence of the former’s displacements. Turning to Hortense Spillers, I contend that to speak of the impropriety of black enfleshment is to approach the limits of phenomenology, for which, I maintain, the “black body” can only appear as a dissimulation. Taking seriously Warren’s question — “How does one think with the improper?” — I engage in a strategic corruption of Jacques Rancière’s concept of “aisthesis.” I propose a theory of black aesthesis as that which emerges in the cut between the violent dissimulation of the “black body” and a black enfleshment that has always been both more and less than the phenomenological body. (shrink)

The word “prolific” does not suffice when describing the work of Jacques Roubaud. Born in 1932, he is the author of numerous scholarly articles and a three-book series of mysteries with a female protagonist, Hortense. He has written other novels (Nous, les moins-que-rien, fils ainés de personne, multiroman [2006] and La Dernière balle perdue [1997]), books of poetry and children’s poetry, an anthology of troubadorian poetry, a collection of French sonnets from the sixteenth and seventeenth centuries, a philosophical treatise, (...) books on poetics (La vieillesse d’Alexandre [1978], Poésie, etcetera, ménage [1995]), as well as a seven-volume (and “six-branch”) “récit autobiographique,” which David Bellos has compared to .. (shrink)

Abstract:The article interrogates notions of resistance and will against the Black Radical Tradition vis-à-vis a close reading of Friedrich Nietzsche’s Will to Power and through Hortense Spiller’s seminal essay, “Mama’s Baby, Papa’s Maybe.” In reading Spillers alongside Nietzsche, the essay argues that black nihilism presents a more severe problem than Nietzsche could anticipate: that the black will is denied active desire and a cosmological body is left to express its “power”—only to highlight (black) resistance as a question.