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    Race Fundamentalism: Caribbean Theater and the Challenge to Black Diaspora

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    Thesis (Ph.D.)--University of Washington, 2013This dissertation engages with radical Caribbean theater as a crucial literary archive that is nonetheless underexplored as an expression of political culture and thought. The theoretical grounding of the chapters emerges from the analytically generative thrust of a comment by C. L. R. James in The Black Jacobins: "to neglect the racial factor as merely incidental is an error only less grave than to make it fundamental." While the phrase asserts that race cannot be neglected, it also cautions against ensconcing race as fundamental analytical priority, suggesting a powerfully fluid conceptualization of radical political culture. My chapters argue that radical theater projects in Jamaica and the Dominican Republic share this fluid conceptualization of radical politics with the Trinidadian James's own stage versions of the Haitian Revolution. These theater projects differ from more static paradigms within diaspora, transnational, and race studies that reduce political radicalism to race, precisely the "fundamentalist" approach to race against which James cautions. This reduction fails to register how race, diaspora, and nation continue to be fashioned within a context of persistent class struggle, colonialism and imperialism, and sexism. Furthermore, scholarly discussions of race and diaspora often are rooted fundamentally in U.S. experience, obscuring the ways race is negotiated differently in various New World diasporas, including those in the Caribbean region. The plays I analyze open up the articulations between race, class, and gender in anti-colonial, anti-racist, and anti-sexist struggles. Furthermore, I attend both to the intra-Caribbean differences that influence the development of radical political culture and to the important connections across areas too often analyzed along colonially fragmented lines. My pan-Caribbean approach avoids thinking of the region as exclusively understandable through linguistically-determined approaches. Across different linguistic and colonial histories, the plays I study cohere in the way they stage political agency through popular culture, collaboration, and spectator participation, all central to each play's aesthetic development and politics but irreducible to race. While race does feature in each play as the site for political radicalism, the performances of race, blackness, and diaspora in the plays are often unrecognizable to U.S. elaborations. Chapter 1, "The Tragicomedy of Anticolonial Overcoming: Toussaint Louverture and The Black Jacobins on Stage," focuses on James's 1936 and 1967 versions of his Haitian plays to disagree with David Scott's emphasis on tragedy in his reading of James's revisions to the history version of The Black Jacobins. James's use of comedy imagines possible futures in the face of tragic postcolonial failures to live up to romantic anticolonial expectations for total revolution. Comedy also challenges the reduction of both versions of the play to a single story of anticolonial black struggle, as the later version renders blackness secondary to post-independence African and West Indian class struggles. In Chapter 2, "Can a Mulatta be a Black Jacobin?" I argue that reading James as sole reviser of the 1936 play into the 1967 version elides the collaborations so important to the revisions. The most radical revision is the centrality of a militant mulatta, challenging scholarly depictions of James as, at worst, a paragon of patriarchy and, at best, a man caught between the feminist politics of the women in his life and the constraints of a male-centered revolutionary and anticolonial tradition. The next chapter, "`Listen, American Negro': Racial Performance, Dominican Street Theater, and `Global' Blackness," analyzes Reynaldo Disla's Un comercial para Máximo Gómez and Frank Disla's Ramón Arepa to counter the sense that Dominicans are "negrophobic." Such an indictment fails to account for the distance between Dominican articulations of blackness and "fundamentalist" versions of blackness, often emanating from the U.S., that masquerade as global. Both plays rely on black-affirming cultural practice in Afro-creolized Dominican carnival, a practice that is unrecognizable to those accustomed to a black-white binary and that does not depend on experiences with U.S. racism and anti-racist struggle. My final chapter, "`Teach his People the Value of Unity': Black Diaspora, Women, and Una Marson's Pocomania," engages Jamaican playwright Una Marson's play Pocomania (1938) for the way Africanness and blackness are sites of struggle that play out over middle and lower class women's power, and map onto the contrast between "proper" Christian practice and Afro-creolized religious practice in yard life. While the play connects Pocomania religious practice with African traditions, its focus is not in authenticating the Africanness of Jamaican culture. Instead, it underscores the intraracial struggles between African-descended Jamaicans, struggles marked not only by religion but also by linguistic, educational, and class-based hierarchies

    The Ticket to Easy Street? The Financial Consequences of Winning the Lottery

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    A fundamental question faced by policymakers is how best to help individuals who are in financial trouble. This paper examines the consequences of the most basic approach: giving people large cash transfers. To determine whether this prevents or merely postpones bankruptcy, we exploit a unique dataset of Florida Lottery winners linked to bankruptcy records. Results show that although recipients of 50,000to50,000 to 150,000 are 50 percent less likely to file for bankruptcy in the two years after winning relative to small winners, they are equally more likely to file three to five years afterward. Furthermore, bankruptcy records indicate that even though the median winner of a large cash prize could have paid off all of his unsecured debt or increased equity in new or existing assets, he chose not to do either. Consequently, although we cannot be sure other recipients of financial assistance would react in the same way lottery players did, our results do suggest that some skepticism regarding the long-term effect of cash transfers may be warranted.

    Going Beyond Counting First Authors in Author Co-citation Analysis

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    The present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed

    Variations on the Author

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    “Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship

    Appropriate Similarity Measures for Author Cocitation Analysis

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    We provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis

    Dispelling the Myths Behind First-author Citation Counts

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    We conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more sophisticated methods
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