Prominent Irish philosopher Richard Kearney’s notion of ‘carnal hermeneutics’ is introduced by applying it to a case study of a recent event that took place at one of South Africa’s university campuses. The narrative assists in illuminating some of the core principles of carnal hermeneutics and illustrates the applicability of carnal hermeneutics as a ‘diagnostic caring for lived existence’. In the process, an analysis is also given of the event in question, which is connected to what has widely been labelled (...) as ‘blackface’. In conclusion, the contextual, philosophical, ethical, and theological implications of carnal hermeneutics are explored with an eye on theological praxes in South Africa today. Keywords: Carnal Hermeneutics; Hermeneutics; Flesh; Body; Richard Kearney; Merleau-Ponty; Ricoeur; Blackface. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.2 (2001) 9-34 [Access article in PDF] Of Blackface and Paranoid KnowledgeRichard Wright, Jacques Lacan, and the Ambivalence of Black Minstrelsy Mikko Tuhkanen Only the subject—the human subject, the subject of the desire that is the essence of man—is not, unlike the animal, entirely caught up in this imaginary capture. He maps himself in it. How? In so far as he isolates the function of the mask (...) and plays with it. Man, in effect, knows how to play with the mask as that beyond which there is the gaze. —Jacques Lacan, The Four Fundamental Concepts of Psycho-AnalysisThere is a danger of corrosion of the self in this pretense, and surely a rending of integrity. How, and when does one call upon the real self to dispel the make-believe and claim humanity and dignity?... It was just possible that the trick had been too perfect; legerdemain had undone itself in a disappearance act where the self had vanished, but also the incantation to call it back again. —Nathan Irvin Huggins, Harlem RenaissanceIn late November 1998, a teacher in New York City's Public School 75 introduced an acclaimed children's book called Nappy Hair to her third-grade students as extracurricular reading material. The book, written by Carolivia Herron, is a transcript of a piece of oral history passed on in the author's family. It tells the story of a black girl with "the kinkiest, the nappiest, the fuzziest, the most screwed up, squeezed up, knotted up, tangled up, twisted up [...] hair you've ever seen in your life" [Herron, unnumbered pages]. According to the author, the book aims to celebrate racial diversity and encourage pride in black children. Some parents of the (mostly black) pupils saw it differently, however. In the days following the introduction of the book, photocopies of parts of the book were circulated among the parents, some of whom were enraged when they saw what they considered demeaning, stereotypical, and "racially insensitive" depictions of black people. A meeting was called with parents and school officials. Threats were made by the parents, and the 27-year-old teacher, a white woman, was put on desk duty while an investigation was launched. Even though the school ended up backing the teacher, she refused to return to the classroom, citing fears for her own safety [see Holloway, "School"; "Teacher"; "Threatened"; "Unswayed"].The incident received a fair amount of commentary, including a New York Times op-ed article by Jill Nelson. In the article, Nelson argues that what the Nappy Hair controversy illustrates is not the racial insensitivity of the white teacher or the school [End Page 9] system—as the black parents argued—but that the "barriers to [...] self-esteem are perpetuated not by the white community but by the black one." For Nelson, the black community remains overly sensitive about certain representations of blackness. She suggests that such attitudes may have their origin in slavery and in the adoption of the valorization of white physical features by African descendants from their masters. In this, she follows critics such as Kobena Mercer, who writes in "Black Hair/Style Politics" that "black people's hair has been historically devalued as the most visible stigmata of blackness, second only to skin" [101]. Inevitably, representations such as those at stake in the classroom controversy find their historical background in minstrelsy: "In the minstrel stereotype of Sambo [...] the 'frizzy' hair of the character is an essential part of the iconography of inferiority. In children's books and vaudeville minstrelsy, the 'woolly' hair is ridiculed, just as aspects of black people's speech were lampooned in both popular music hall and the nineteenth-century novel as evidence of the 'quaint folkways' and 'cultural backwardness of the slaves'" [102]. Nelson concludes: "Too many African-Americans," she writes, "have internalized and passed down these beliefs, as if proximity to whiteness inherently enhances our worth."Nelson's reading of the controversy is neither incorrect nor adequate. Certainly, the parents' outrage with the book—more precisely, with the... (shrink)

Birth and The Jazz Singer ostensibly exploit blacks in opposite ways. Birth makes war on blacks in the name of the fathers; The Jazz Singer’s protagonist adopts a black mask and kills his father. The Birth of a Nation, climaxing the worst period of violence against blacks in southern history, lynches the black; the jazz singer, ventriloquizing the black, sings through his mouth. Birth, a product of the progressive movement, has national political purpose. The Jazz Singer, marking the retreat from (...) public to private life in the jazz age, and the perceived pacification of the fantasized southern black threat, celebrates not political regeneration but urban entertainment.[ … ]Celebrating the blackface identification that Birth of a Nation denies, The Jazz Singer does no favor to blacks. The blackface jazz singer is neither a jazz singer nor black. Blackface marries ancient rivals in both movies; black and white marry in neither. Just as Birth offers a regeneration through violence, so the grinning, Jazz Singer, minstrelsy mask kills blacks with kindness. Michael Rogin teaches political science at the University of California, Berkeley. His books include Fathers and Children: Andrew Jackson and the Subjugation of the American Indian , Subversive Genealogy: The Politics and Art of Herman Melville , “Ronald Reagan,” the Movie and Other Episodes in Political Demonology. (shrink)

This essay examines U.S. blackface performance in the twentieth century through the lens of Adorno’s mass culture critiques, specifically of jazz music. Despite being rooted in the divisive logic of antiquated live performance traditions, blackface as a racist glyph flourishes in the technologically mediated social environment of the twentieth century. By replacing Adorno’s critique of jazz with a direct investigation of blackface, the essay argues for a more materialist approach to minstrelsy studies that acknowledges both circulation and (...) accumulation as oppressive hegemonic forces. (shrink)

What is objectionable about “blacking up” or other comparable acts of imagining involving unethical attitudes? Can such imaginings be wrong, even if there are no harmful consequences and imaginers are not meant to apply these attitudes beyond the fiction? In this article, we argue that blackface—and imagining in general—can be ethically flawed in virtue of being oppressive, in virtue of either its content or what imaginers do with it, where both depend on how the imagined attitudes interact with the (...) imagining’s context. We explain and demonstrate this using speech act theory alongside a detailed case study of blackface. (shrink)

I argue that what’s so bad (qua film fiction) about the cinematic practice of actor-character race-mismatching—be it the historically infamous and intuitively repugnant practice of blackface or one of its more contemporary kin—is that the extent to which film-fictions employ such practices is typically the extent to which such film-fictions unrealistically depict facts about race. More precisely, I claim that race-mismatching film fictions—understood as a species of unrealistic fiction—are prima facie inconsistent fictions with the capacity to mislead their audiences (...) about certain morally relevant actual-world states-of-affairs and thus, prima facie aesthetically, epistemically, and morally defective. (shrink)

The Journal of Mass Media Ethics publishes case studies in which scholars and media professionals analyze a particular ethical problem. Cases are drawn from actual experience in newsrooms, corporat...

This essay explores the work of “New York’s most famous unknown artist,” Ray Johnson, contending that his complex relationship to sadomasochism provides a key switch point for Pop’s sexual and racial imaginary. In the register of sex, Johnson’s sadomasochism contests the stability of the relationship between homosexuality and Pop, offering instead a queerer object that opens out new models of collaborative artistic production. In the register of race, sadomasochism enables Johnson to articulate a monochrome world, attempting to void the binarized (...) color-line’s fissuring force. While this strategy from our contemporary vantage feels politically suspect, I see it is part of a larger project of political and social reparation whereby the explicitly sadomasochistic themes of Johnson’s work imagine a rebuttal to and reconfiguration of the racist exclusionary forces of the art world. (shrink)

The fashion industry has faced many criticisms of racial insensitivity in recent years. In December of 2018, luxury brand Prada was criticized for displaying merchandise and storefront figurines th...

The traditional blackface character Black Pete has been at the center of an intense controversy in the Netherlands, with most black citizens denouncing the tradition as racist and most white citizens endorsing it as harmless fun. I analyze the controversy as an utter failure, on the part of white citizens, of what Alison Jaggar has called multicultural literacy. This article aims to identify both the causes of this failure of multicultural literacy and the conditions required for multicultural literacy to (...) be possible. I argue that this failure of multicultural literacy is due to hermeneutical injustice and to white ignorance. I close by considering possible avenues for fostering multicultural literacy. (shrink)

In recent years, a lot of academic attention has been paid to the public discussion on ‘Black Pete’ (Zwarte Piet) in the Low Countries. Black Pete is a much-debated blackface character which is part of the Saint-Nicholas tradition – a yearly festive event taking place at the beginning of December associated with gifts and celebration. ‘Tradition’ versus ‘racism’ seem to be the main arguments in the debate. The current study analyses the debate as it evolved in Flanders from 2012 (...) until 2022, applying Critical Discourse Analysis to find out how the thinking about the event and the Black Pete character, as reflected in the newspapers, changed over a decade. Our sample consists of 143 articles from the four most read newspapers in Flanders (De Standaard, De Morgen, Het Laatste Nieuws, Het Nieuwsblad). All journalistic genres were included, news reports as well as opinion articles, but also readers’ letters. Based on an analysis of naming, modality and evidentiality (Fairclough [2013]. Critical discourse analysis: The critical study of language. Routledge; Halliday [1994]. An introduction to functional grammar. Arnold), we illustrate and demonstrate how the tone of the debate gradually changed from a discourse of conflict into a discourse of moderation and appeasement. (shrink)

While a large body of literature on pejorative language has emerged recently, derogatory communication is a broader phenomenon that need not constitutively involve the use of words. This paper delineates the class of non-verbal pejoratives and sketches an account of the derogatory power of a subset of NVPs, namely those whose effectiveness crucially relies on iconicity. Along the way, I point out some ways in which iconic NVPs differ from wholly arbitrary NVPs and ritualized threat signals in the animal kingdom, (...) such as the wolf’s snarl, which do not threaten or demean targets by virtue of any kind of iconographic depiction. An iconic portrayal such as a racist caricature disparages its target by inviting recipients to entertain an unflattering image of the target. “Blackface” performers in the nineteenth-century, for example, promulgated an unflattering image of African-Americans by means of make-up, costumes, and vocal impersonations. (shrink)

Cet article, où s’entremêlent pédagogie, réflexion et synthèse critique, se propose d’évaluer un exercice mené dans le cadre d’un séminaire aux cycles supérieurs sur « La race et le genre au dix-huitième siècle » : le musée du mème. Ce musée se sert des réactions publiées dans les médias sociaux dans le but d’orienter la lecture et les impressions des étudiant.e.s à l’égard de la littérature du dix-huitième siècle. Le musée du mème suscite inéluctablement une sorte de « blackface (...) numérique », dans la mesure où les étudiant.e.s, qui fréquentent une institution à prédominance blanche, font appel à des célébrités et des athlètes noirs pour exprimer leurs émotions et leurs affects en réaction aux lectures assignées. L’auteur propose le terme de « réactivité noire » (« reactive blackness ») pour désigner un langage de communication médiatique et un comportement affectif, émergeant directement d’archives du dix-huitième siècle, et reconnaît l’intersectionnalité entre la race et le genre. La « réactivité noire » exploite l’émotivité noire et donne à voir l’expérience de ces communautés comme une forme emblématique d’expressivité. Cet article interroge ainsi des artéfacts tirés du musée du mème produits par les étudiant.e.s afin d’examiner les analyses transhistoriques que peut susciter un tel projet dans le cadre d’un enseignement antiraciste de la race et du genre au dix-huitième siècle. (shrink)

Using the turn of the century blackface performer Bert Williams as a case study, this essay explores how we might think about black male performativity in the New World as a historical formation, one that extends both over the time of modernity and across the space of diaspora. I draw from contemporary theories of circum-atlantic performance and black feminist studies of the impact of slavery on black racial and gendered identities, to argue that performance affords a unique window into (...) how blackness is constructed in a space between the black male performer and his equally racialized New World audience. The essay theorizes a notion of key black male performances as ‘signature acts’, then explores discussions of minstrelsy by other black American writers such as Ralph Ellison, Ishmael Reed, and the black British writer Caryl Phillips. Using Fanon's notions of triple-consciousness in tandem with Brechtian and Freudian theories of alienated performances and jokes, the essay concludes with a brief analysis of some of the gendered significations in lyrics from Bert Williams’ first musical comedy and then also in a novel about the performer by Caryl Phillips. (shrink)

White men pretending to be black men by blackening their faces and performing, on stage, the peculiar antics that constituted their vision of blackness. This chapter explores how black people sustain themselves under conditions of racial terror, exclusion, and oppression. Eric Lott's point goes beyond shaming and repudiation, though, to suggest that minstrelsy is more, and more interesting, than a garden variety expression of racism. The men who donned blackface did so in an attempt to work out their own (...) identities as Americans, and some chose blackness as a vehicle for this because of a genuine, if paternalistic and complicated, respect for black culture. The point of the work has been to assemble black aesthetics as an object of philosophical study, using the resources, broadly speaking, of analysis, pragmatism, and genealogical cultural criticism and social theory. (shrink)

Social norms forbidding rape jokes, blackface, and flag-burning exemplify a peculiar form of etiquette, which I call political etiquette. Just as compliance with ordinary etiquette expresses respect for the other individuals involved in a social encounter, compliance with political etiquette expresses respect for social groups. In this paper, I propose that we understand political etiquette as a system of conventions whereby we indicate our commitment to treating vulnerable social groups in accordance with their rightful status. Because we have a (...) standing obligation to assure all members of our community that their rightful social status will be respected, we have a powerful moral reason to conform with all existing political etiquette norms whose target social groups lack such assurance, even when compliance with these norms is not antecedently morally valuable. Alongside our moral reasons to comply with some existing political etiquette norms, we also have moral reasons to fortify good political etiquette norms and to reform or erode bad ones. (shrink)