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Saturation: Race, Art, and the Circulation of Value
No full text"Controversies involving race and the art world are often discussed in terms of diversity and representation—as if having the right representative from a group or a larger plurality of embodied difference would absolve art institutions from historic forms of exclusion. This book offers another approach, taking into account not only questions of racial representation but also issues of structural change and the redistribution of resources. In essays, conversations, discussions, and artist portfolios, contributors confront in new ways questions at the intersection of art, race, and representation." -- Publisher's website
Review of \u3cem\u3eTransgender History\u3c/em\u3e, by Susan Stryker, and \u3cem\u3eTranspeople: Repudiation, Trauma, Healing\u3c/em\u3e,by Christopher A. Shelley
Get PDFDESIROUS DISPOSABILITY: READING CIRCUITS OF RACE, SEX, AND REFUSAL IN 20TH CENTURY BLACK EXPRESSIVE CULTURE
No full text162 pages“Desirous Disposability” reads the ruptures created by African diasporic literature and art to colonial, imperial, neoliberal circuits of desire that dominate ideologies of black subject formation in the aftermath of slavery
Trapped in the [epistemological] closet: Black sexuality and the popular imagination
No full textTrapped in the [Epistemological] Closet: Black Sexuality and the Popular Imagination, examines representations of the down low, a term that typically refers to black men who have sex with men and women and do not identify as gay, bisexual or queer, in news and popular culture. I offer two terms—the biopolitics of representation and the glass closet —to analyze the mediated construction of the down low. The first term, biopolitics of representation, addresses why certain representational modes occur and what they signify about contemporary arrangements of power. While a traditional politics of representation views images and other forms of representations as manifestations of ideology, the biopolitics of representation explains how representations emerge as a matter of governance, that is by focusing on both the significatory and regulatory power embedded within mediated culture. The glass closet, a paradoxical space of hypervisibility and opacity, is a metaphor and analytic I develop to understand black sexuality as that which is already understood as deviant, while simultaneously read as mysterious and untenable in mediated space. An analytic, like the biopolitics of representation, renders the dimensions of the glass closet visible. I suggest that the glass closet plays a critical part in the emergence of down low narratives, while it also demonstrates how the down low signifies a frequent relation between representations of blackness and queerness
The Blacknesses of Blackness: Fugitivity, Feminism, and Transness
No full text“The Blacknesses of Blackness: Fugitivity, Feminism, and Transness,” recalibrates blackness, black feminism, and transness less as bodily endowments or “identities” and more as various inflections of subjectivities in excess of categorization, normativity, and imposed ontologies. It establishes a gendered account of black fugitivity, the purpose of which is not to argue that thinkers of blackness as proximate to fugitivity always fail to think race and gender simultaneously; rather, it is to argue that black fugitivity conceived through a trans/feminist theoretical lens makes clearer the ways in which blackness-as-fugitivity interacts with radical understandings of gender. To facilitate this, the dissertation read treatises of antebellum slaves and theorizations of blackness and gender to excavate how they converge with contemporary feminist and trans texts; the prose poetry of Alexis Pauline Gumbs in the context of women of color feminists and diaspora theorists; the cultural phenomenon of Rachel Dolezal and the “racial reassignment surgery” discourse of Jess Row’s novel Your Face in Mine (2014) alongside black trans theories of the analytics of blackness and gender; and black feminist critical engagements with Afro-pessimism. What if, the dissertation queries, we think about blackness and black feminism not as the province of people with particular bodies but as ways of locating subjectivity elsewhere than how we have been scripted to be able to exist legibly? What if we bring the “trans”—movement in excess of an unchosen starting point to an undisclosed destination—to bear on blackness
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
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Dreams/Myths/Histories: Envisioning More Livable World
Get PDFIn “Dreams/Myths/Histories: Envisioning More Livable World” we arrive at the duo-keynote conver- sation between the 2017 keynote speakers: C. Riley Snorton and CeCe McDonald. In their keynote conversation, Snorthon and McDonald discuss what it means to be black, trans, and unapologetic in a white violent society. They tackle a variety of topics including Afro-futurism, radical imaginaries, prison abolition, and anti-blackness both in and out the LGBTQ community
Variations on the Author
Get PDF“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
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