Cedric Robinson: Black Marxism (Selections)
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The Center for the Study of Race, Politics, and Culture 1
The Center for the Study of Race, Politics, and Culture 1 The Center for the Study of Race, Politics, and Culture Directors C. Riley Snorton, Interim Faculty Director Tracye A. Matthews, Executive Director Faculty • Daniel Abede - Law School • Anjali Adukia– Public Policy • Jessica Swanston Baker– Music • Kathleen Belew- History • Lauren Berlant– English • Philip Bohlman– Music and the Humanities in the College • Dain Borges– History • Larissa Brewer-Garcia– Romance Languages & Literatures • Matthew Briones– American History and the College • P. Sean Brotherton-- Anthropology • Chad Broughton– Public Policy & Chicago Studies Program • Adrienne Brown– English • Kerwin Charles– Harris School of Public Policy • Yoon Sun Choi– School of Social Service Administration • Julie Chu– Anthropology • Cathy Cohen– Political Science • Jennifer Cole– Human Development • Herschella Conyers– Law School • Jane Dailey– American History • Shannon Dawdy– Anthropology • Michael Dawson– Political Science • Daniel Desormeaux– French Literature • Justin Driver- Law School • Darby English– Art History • Matthew Epperson - School of Social Service Administration • Curtis Evans– Divinity • Eve Ewing - School of Social Service Administration • Leah Feldman - Comparative Literature • Allyson Nadia Field- Cinema and Media Studies • Brodwyn Fischer– History • Raymond Fogelson– Anthropology • Anton Ford– Philosophy • Craig Futterman– Law School • Rachel Galvin– English • Angela Garcia– School of Social Service Administration • Marco Garrido– Sociology • Theaster Gates- Visual Arts • Adom Getachew– Political Science • Melissa Gilliam– Medicine; Vice Provost for Academic Leadership, Advancement, and Diversity • Adam Green– History • Yanilda María González– School of Social Service Administration • Ramón Gutiérrez– History • Angie Heo- Divinity School • Kimberly Kay Hoang- Sociology 2 The Center for the Study of Race, Politics, and Culture • Thomas Holt– History • Dwight Hopkins– Theology in the Divinity School • Travis Jackson– Music and the Humanities • Waldo E. -
Empire, Racial Capitalism and International Law: the Case of Manumitted Haiti and the Recognition Debt
Leiden Journal of International Law (2018), 31, pp. 597–615 C Foundation of the Leiden Journal of International Law 2018 doi:10.1017/S0922156518000225 INTERNATIONAL LEGAL THEORY Empire, Racial Capitalism and International Law: The Case of Manumitted Haiti and the Recognition Debt ∗ LILIANA OBREGON´ Abstract Before 1492, European feudal practices racialized subjects in order to dispossess, enslave and colonize them. Enslavement of different peoples was a centuries old custom authorized by the lawofnationsandfundamentaltotheeconomiesofempire.Manumission,thoughexceptional, helped to sustain slavery because it created an expectation of freedom, despite the fact that the freed received punitive consequences. In the sixteenth century, as European empires searched for cheaper and more abundant sources of labour with which to exploit their colonies, the Atlantic slave trade grew exponentially as slaves became equated with racialized subjects. This article presents the case of Haiti as an example of continued imperial practices sustained by racial capitalism and the law of nations. In 1789, half a million slaves overthrew their French masters from the colony of Saint Domingue. After decades of defeating recolonization efforts and the loss of almost half their population and resources, Haitian leaders believed their declared independence of 1804 was insufficient, so in 1825 they reluctantly accepted recognition by France while being forced to pay an onerous indemnity debt. Though Haiti was manumitted through the promise of a debt payment, at the same time the new state was re-enslaved as France’s commercial colony. The indemnity debt had consequences for Haiti well into the current century, as today Haiti is one of the poorest and most dependent nations in the world. -
Harold Pinter's Bleak Political Vision
http://dx.doi.org/10.18778/7525-994-0.07 Studies in English Drama and Poetry Vol. 3 Paulina Mirowska University of Łódź The Silencing of Dissent: Harold Pinter’s Bleak Political Vision Abstract: The article centres upon one of Harold Pinter’s last plays, Celebration, first performed at the Almeida Theatre, London, on 16 March 2000. Similarly to Party Time, a dystopian political play written almost a decade earlier, Celebration pursues the theme of a sheltered zone of power effectively marginalising a social “other.” This time, however, Pinter adopts the mode of comedy to dramatise the fragile and circumscribed existence of dissent and the moral coarseness of complacent elites. The article traces a number of intriguing analogies between Celebration and Pinter’s explicitly political plays of the 1980s and 1990s dealing with the suppression of dissident voices by overwhelming structures of established power. It is demonstrated how – despite the play’s fashionable restaurant setting, ostensibly far removed from the torture sites of One for the Road, Mountain Language and The New World Order – Pinter succeeds in relating the insulated world of Celebration to the harsh reality of global oppression. What is significant, I argue here against interpreting the humorous power inversions of the social behaviour in Celebration as denoting any fundamental changes in larger sociopolitical structures. It is rather suggested that the play reveals the centrality of Pinter’s scepticism about the possibility of eluding, subverting or curtailing the silencing force of entrenched status quo, implying perpetual nature of contemporary inequities of power. I also look at how the representatives of the empowered in-group in the play contain transgressing voices and resort to language distortion to vindicate oppression. -
COVID-19 As a Disaster of Racial Capitalism
Special Feature “Against ‘Disaster’: Sociologica. V.15 N.1 (2021) Critical Reflections on the Concept” – peer-reviewed ISSN 1971-8853 https://doi.org/10.6092/issn.1971-8853/11659 https://sociologica.unibo.it/ Beyond Social Vulnerability: COVID-19 as a Disaster of Racial Capitalism Fayola Jacobs* University of Minnesota, Humphrey School of Public Affairs (United States) Submitted: October 23, 2020 – Revised version: February 19, 2021 Accepted: April 25, 2021 – Published: May 26, 2021 Abstract The hazards and disasters field routinely emphasizes that there is no such thing as anatural disaster. This is a nod to the fact that environmental disasters are caused by the human ac- tions or inactions intersecting with the occurrence of a natural hazard, e.g. hurricane, fire, earthquake. This essay argues that the disaster literature can help us understand the causes and consequences of the COVID-19 pandemic but only if we consider the pandemic as a disaster and its profound impacts as outcomes of racial capitalism. Through intersectional systemic forms of oppression that both devalue Black, Indigenous and Latinx people and extract labor from them, racial capitalism has rendered these communities vulnerable. Keywords: Social Vulnerability; Racial Capitalism; Disasters; COVID-19. * [email protected] Copyright © 2021 Fayola Jacobs 55 The text in this work is licensed under the Creative Commons BY License. https://creativecommons.org/licenses/by/4.0/ Beyond Social Vulnerability Sociologica. V.15 N.1 (2021) 1 Introduction It might be said that the COVID-19 pandemic is somewhat primetime for those of us who write that there is no such thing as a natural disaster. -
Trends in Political Television Fiction in the UK: Themes, Characters and Narratives, 1965-2009
This item was submitted to Loughborough’s Institutional Repository (https://dspace.lboro.ac.uk/) by the author and is made available under the following Creative Commons Licence conditions. For the full text of this licence, please go to: http://creativecommons.org/licenses/by-nc-nd/2.5/ Trends in political television fiction in the UK: Themes, characters and narratives, 1965-2009. 1 Introduction British television has a long tradition of broadcasting ‘political fiction’ if this is understood as telling stories about politicians in the form of drama, thrillers and comedies. Vote, Vote for Nigel Barton (1965) is generally considered the first of these productions for a mass audience presented in the then usual format of the single television play. Ever since there has been a regular stream of such TV series and TV-movies, varying in success and audience appeal, including massive hits and considerable failures. Television fiction has thus become one of the arenas of political imagination, together with literature, art and - to a lesser extent -music. Yet, while literature and the arts have regularly been discussed and analyzed as relevant to politics (e.g. Harvie, 1991; Horton and Baumeister, 1996), political television fiction in the UK has only recently become subject to academic scrutiny, leaving many questions as to its meanings and relevance still to be systematically addressed. In this article we present an historical and generic analysis in order to produce a benchmark for this emerging field, and for comparison with other national traditions in political TV-fiction. We first elaborate the question why the study of the subject is important, what is already known about its themes, characters and narratives, and its capacity to evoke particular kinds of political engagement or disengagement. -
Article Racial Capitalism
VOLUME 126 JUNE 2013 NUMBER 8 © 2013 by The Harvard Law Review Association ARTICLE RACIAL CAPITALISM Nancy Leong CONTENTS INTRODUCTION .......................................................................................................................... 2153 I. VALUING RACE ................................................................................................................... 2158 A. Whiteness as Property .................................................................................................... 2158 B. Diversity as Revaluation ................................................................................................ 2161 C. The Worth of Nonwhiteness .......................................................................................... 2169 II. A THEORY OF RACIAL CAPITALISM .............................................................................. 2172 A. Race as Social Capital .................................................................................................... 2175 B. Race as Marxian Capital ............................................................................................... 2183 C. Racial Capitalism ............................................................................................................ 2190 III. CRITIQUING RACIAL CAPITALISM ................................................................................. 2198 A. Commodification ............................................................................................................. 2199 B. Harm -
Sample Chapter
Copyrighted material – 9781137590794 Copyrighted material – 9781137610270 CONTENTS INTRODUCTION Some Key Terms and Ideas viii The introduction offers the reader some definitions of key terms and theo- ries, as well as seeking to explore what might be meant by ‘contemporary’. It also explains the importance of analysing critical and scholarly commen- tary, introduces some of the plays explored later in the book and provides an outline of the structure of the volume. CHAPTER ONE The Rise of Political Theatre 1 The book starts by analysing the rise of left-wing socialist theatre in the late 1960s to the early 1980s, exploring the relevance of these key dates and examining the theatrical and political landscape at this time. The chapter explores the work of Bond, Hare and Brenton, and then Pinter, analysing the critical response to their work in first performance, as well as some relevant modern revivals, and also offers commentary on the relationship between ‘real’ politics and theatrical response to them. CHAPTER TWO The Gendering of Political Theatre: Women’s Writing and Feminist Drama 25 Following on from analysis of political playwriting in chapter one, this chapter examines the rise of feminist theatre in the 1970s and 1980s. Focusing on Daniels and Churchill, the chapter analyses the meaning and definition of feminist theatre, and seeks to locate these dramatists’ work in the context of feminist socialist writing more widely. The chapter explores the often hostile critical reaction to this work, and reflects on feminist theatre’s attempts to restructure dominant forms of theatre into more fluid and deconstructed structures. v Copyrighted material – 9781137610270 Copyrighted material – 9781137610270 vi CONTENTS CHAPTER THREE In-Yer-Face Theatre: The Shocking New Face of Political Drama? 48 In the 1990s, a ‘new’ and shocking form of theatre appeared to erupt on the British stage – so-called ‘In-Yer-Face’ theatre. -
The Failure to Grapple with Racial Capitalism in European Constitutionalism
American University Washington College of Law Digital Commons @ American University Washington College of Law Working Papers Works 7-2020 The Failure to Grapple with Racial Capitalism in European Constitutionalism Fernanda Giorgia Nicola Dr. Follow this and additional works at: https://digitalcommons.wcl.american.edu/fac_works_papers Part of the Constitutional Law Commons, and the European Law Commons UNIVERSITY OF COPENHAGEN FACULTY OF LAW iCourts iCourts Working Paper Series, No. 201, 2020 IMAGINE Paper No. 8 The Failure to Grapple with Racial Capitalism in European Constitutionalism The First IMAGINE Workshop Jeffrey Miller & Fernanda Nicola iCourts – The Danish National Research Foundation’s Centre of Excellence for International Courts July 2020 Electronic copy available at: https://ssrn.com/abstract=3647178 Abstract: Since the 1980s prominent scholars of European legal integration have used the example of U.S. constitutionalism to promote a federal vision for the European Community. These scholars, drawing lessons from developments across the Atlantic, concluded that the U.S. Supreme Court had played a key role in fostering national integration and market liberalization. They foresaw the possibility for the European Court of Justice (ECJ) to be a catalyst for a similar federal and constitutional outcome in Europe. The present contribution argues that the scholars who constructed today’s dominant European constitutional paradigm underemphasized key aspects of the U.S. constitutional experience, including judgments that favored states’ rights doctrines that buttressed the social plagues of slavery and laissez faire policies that reinforced economic inequality. This selective reception of the U.S. experience, bracketing racial subordination and neoliberal policies under the rubric of states’ rights, propelled European constitutionalism into a neverland—one that claimed to draw inspiration from U.S. -
Theatre, Communism, and Love
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE PASSIONATE AMATEURS Passionate Amateurs THEATRE, COMMUNISM, AND LOVE Nicholas Ridout THE UNIVERSITY OF MICHIGAN PRESS Ann Arbor Copyright © by the University of Michigan 2013 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written per- mission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2016 2015 2014 2013 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in- Publication Data Ridout, Nicholas Peter. Passionate amateurs : theatre, communism, and love / Nicholas Ridout. pages cm. — (Theater—theory/text/performance) Includes bibliographical references and index. ISBN 978-0- 472- 11907- 3 (cloth : alk. paper) — ISBN 978-0- 472- 02959- 4 (e- book) 1. Theater and society. 2. Communism and culture. I. Title. PN2051.R53 2013 792—dc23 2013015596 For Isabel and Peter, my parents Acknowledgments Throughout the writing of this book I was fortunate to work in the De- partment of Drama at Queen Mary University of London. Colleagues and students alike made the department a truly stimulating and supportive place to be, to work, and to think. I am grateful to them all. I owe particu- lar thanks, for conversations that contributed in tangible ways to the de- velopment of this work, to Bridget Escolme, Jen Harvie, Michael McKin- nie, Lois Weaver, and Martin Welton. -
Forward Theatre: an Introduction
ARTICLE .17 Forward Theatre: An Introduction Sabina Head Griffith University Australia Abstract Futurists build scenarios for clients and are concerned with effectively communicating them. Stories provide frameworks and aim to engage audiences with entertainment techniques that include more than rational thinking and analysis, by exploring alternative futures involving characters and events as individuals deal with issues brought about by a new situation. Stories work at multiple levels including the most profound, offering new insights and patterns of thinking. Theatre can present characters in relationships, who 'show the story', reacting to events in the 'here and now', for audiences who remain semiobjective observers while devel- oping empathy with the characters in their concrete, if temporary future. In the process, audiences are exposed to futures thinking, extending possibilities for change. Forward Theatre is a discovered genre for exploring futures issues that has potential uses for futurists. Keywords: forward theatre, futures studies drama, futures communication genre Forward Theatre as a Futures Informed Genre Theatre is a holistic performance art; it includes visual elements, sound elements, language, body language and movement through time and space; and it is designed for communication to audiences, with or without media assistance or enhancement. Drama is an aesthetic way of knowing that includes theatre. During a theatrical performance, the elements, or ingredients of drama are continually manipulated by a production team in combination with each other to create a rich, com- plex, concrete event with layers of meaning constructed and discovered by participants during the show and on later reflection. Theatre is also a medium for shared communication as participants – observers, performers, and behind-the-scene contributors and writers – create, experience, interpret, discuss and reflect on stories and their meanings. -
Ritual, Sacrifice, and Identity in Recent Political Drama - with Reference to the Plays of David Greig
Fall 2000 21 Ritual, Sacrifice, and Identity in Recent Political Drama - with Reference to the Plays of David Greig Peter Nesteruk This article will examine the role of ritual in recent drama. The problems and limitations of prior theoretical definition and dramatic use will be noted and an alternative reading proposed. The relationship between ritual and performativity will be discussed with a focus upon sacrificial forms. "Performativity" here will not refer to the difference of an actual performance to the written text, but rather the effect in both of the extra intensity of words which are also acts (it is in this general sense that rituals are treated as performative, as both real and not-real, as words and gestures and as the acts they symbolize). The special relationship ritual imposes upon an audience will be noted, as will the implications of this relationship to the issue of the sacred and to the construction of collective identity. The question of whether drama is ritual, implying a special genre relation to the audience, or whether drama contains ritual (or both), will be attempted. The differing roles of ritual in identity formation and its presence in recent political drama will form the main insight of this article. A discussion of the political uses of ritual identity, and particularly the representation of sacrificial rituals, will follow. The key category of "identity exchange" will be introduced. An ethical division will be made between "progressive" and "reactionary" ritual exchanges (or, for those suspicious of linear models, between "acceptable" and "unacceptable" forms). After the exposition of an alternative conceptualization, this article will take as topical exemplars of the new approach to ritual in drama, two plays by the young Glaswegian playwright, David Greig, Petra (1992) and Europe (1995). -
Re-Imagining Political Theatre for the Twenty‐First Century
Re-imagining political theatre for the twenty-first century By Leticia Caceres Submitted in total fulfillment of the requirements of the degree of Masters of Fine Arts - Theatre direction (by Research) November 2012 Department of Performing Arts Victorian Collage of the Arts The University of Melbourne TABLE OF CONTENTS RE-IMAGINING POLITICAL THEATRE FOR THE TWENTY-FIRST CENTURY 1 ABSTRACT I DECLARATION II ACKNOWLEDGEMENTS IV INTRODUCTION 1 CHAPTER 1 7 LITERATURE REVIEW 7 MODERNISM AND POLITICAL THEATRE 9 DEFINITIONS OF ‘POLITICAL’ IN THE POSTMODERN AGE 9 POST – BRECHT? 11 AN ARGUMENT FOR ‘ROUGH’ THEATRE IN A TECHNOLOGICALLY DRIVEN WORLD 13 IMAGINATION IN THE AGE OF GLOBALIZATION 14 THEATRE FOR RESISTANCE IN THE TWENTY-FIRST CENTURY 16 CHAPTER 2 19 POLITICAL THEATRE IN THE TWENTY-FIRST CENTURY – GLOBALIZATION, COSMOPOLITANISM, THEATRICAL PRACTICE 19 THE ETHICS OF GLOBAL – CAPITALISM 19 COSMOPOLITANISM 21 THE ROOTS OF COSMOPOLITANISM 21 CATEGORICAL IMPERATIVES 22 THEATRE AND COSMOPOLITANISM 22 IDENTIFICATION 23 METAPHOR AND SYMBOL 24 THEATRICALITY AND UNITY 25 BEAUTY AND COMPLEXITY 26 CHAPTER 3 27 THE DRAMATURGY OF REALTV – EPIC AND COSMOPOLITAN DRAMATURGY FOR THE GLOBAL AGE 27 FACT AND FICTION IN REALTV PLAY TEXTS 27 EPIC DRAMATURGY 28 STRUCTURE 32 DEFAMILIARISATION THROUGH POETIC LANGUAGE 34 COSMOPOLITAN DRAMATURGY 35 EVAPORATION OF SINGULARITY 36 DE-TERRITORIALISM 36 CHAPTER 4 39 FORMS OF REPRESENTATION - BRECHTIAN TECHNIQUES STAGING WORK FOR YOUNG AUDIENCES 39 WAR CRIMES - THEMES AND ISSUES 39 DIRECTORIAL STYLE 40 CROSS-RACIAL CASTING 41 CULTURAL SENSITIVITY 42 SUBVERTING PATRIARCHAL CONSTRUCTS 46 ALIENATION EFFECT, CONTRADICTION AND CROSS GENDER ROLE PLAY 47 QUEER REPRESENTATION 48 HIP-HOP 49 DESIGN 51 SOUND DESIGN 53 MASH-UP 54 CHAPTER 5 57 AUDIENCE FEEDBACK 57 DIRECTOR’S RESPONSE 58 CHAPTER 6 65 CONCLUSION 65 BIBLIOGRAPHY 67 ii Abstract One of key struggles of the globalised twenty-first century is against the disempowerment of the individual imagination.