As the Canadian university expands its market to previously excluded populations and areas of study, Black students and scholars take up positions in academia to engage in intellectual work geared toward liberation, knowing that from the perspective of the neoliberal institution, our value is primarily as new categories of institutional consumer and forms of institutional capital. We work from this incongruous position of within and against the academy, simultaneously posited as visible representatives and visual representations of its reformation as “diverse” and “decolonized.” The university has long asserted its excellence, and in sponsoring “Black Excellence” and “Indigenous Excellence” it now claims its excellence at being inclusive—hence “Inclusive Excellence”. This paper draws on the work of Bill Readings in conversation with Black radical thought and my recent research to examine these issues as they are emerging in the much delayed and ongoing development of Black Studies in Canada.
{"title":"Black Studies without Excellence","authors":"Rosalind Hampton","doi":"10.3138/topia-2023-0039","DOIUrl":"https://doi.org/10.3138/topia-2023-0039","url":null,"abstract":"As the Canadian university expands its market to previously excluded populations and areas of study, Black students and scholars take up positions in academia to engage in intellectual work geared toward liberation, knowing that from the perspective of the neoliberal institution, our value is primarily as new categories of institutional consumer and forms of institutional capital. We work from this incongruous position of within and against the academy, simultaneously posited as visible representatives and visual representations of its reformation as “diverse” and “decolonized.” The university has long asserted its excellence, and in sponsoring “Black Excellence” and “Indigenous Excellence” it now claims its excellence at being inclusive—hence “Inclusive Excellence”. This paper draws on the work of Bill Readings in conversation with Black radical thought and my recent research to examine these issues as they are emerging in the much delayed and ongoing development of Black Studies in Canada.","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135729976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article interrogates critiques of the contemporary university elaborated by scholars under the umbrella of critical university studies (CUS) by grappling with the theoretical and conceptual commitments to neoliberalism as a framework to discuss the political economy of higher education and its concomitant practices. Through a Black feminist critique of CUS’s engagements with the “neoliberal function” of higher education, this article suggests the inability of neoliberalism as an analytical frame to consider the history of colonization and chattel slavery in the structuring of the contemporary university. Put another way, the emphasis on neoliberalism in many cultural critiques of the contemporary university disallows an analysis of Black fungibility as the internal logic of neoliberalism and the necessary relation that stabilizes the modern university and allows for the reproduction of post-slavery university subjects. Specifically, this argument coheres to the materialized scene of the university as a site of struggle. Reading Black student leaders’ denigration of the university through a Black feminist lens, this article invites a reconfiguration of the contemporary university critique that both constitutes the current neoliberal paradigm and exceeds the onto-epistemic configurations of the educational subject that enable the emergence of the “neoliberal critique” of the university itself.
{"title":"Black Feminism and the Failures of the Contemporary “Neoliberal” University Critique","authors":"Zachary Brown","doi":"10.3138/topia-2023-0014","DOIUrl":"https://doi.org/10.3138/topia-2023-0014","url":null,"abstract":"This article interrogates critiques of the contemporary university elaborated by scholars under the umbrella of critical university studies (CUS) by grappling with the theoretical and conceptual commitments to neoliberalism as a framework to discuss the political economy of higher education and its concomitant practices. Through a Black feminist critique of CUS’s engagements with the “neoliberal function” of higher education, this article suggests the inability of neoliberalism as an analytical frame to consider the history of colonization and chattel slavery in the structuring of the contemporary university. Put another way, the emphasis on neoliberalism in many cultural critiques of the contemporary university disallows an analysis of Black fungibility as the internal logic of neoliberalism and the necessary relation that stabilizes the modern university and allows for the reproduction of post-slavery university subjects. Specifically, this argument coheres to the materialized scene of the university as a site of struggle. Reading Black student leaders’ denigration of the university through a Black feminist lens, this article invites a reconfiguration of the contemporary university critique that both constitutes the current neoliberal paradigm and exceeds the onto-epistemic configurations of the educational subject that enable the emergence of the “neoliberal critique” of the university itself.","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135779147","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses collaborative Black study that entails dialogical engagement with a range of texts and podcasts about Black radicalism and is further informed by participation in anti-capitalist, anti-colonial activism. The authors describe their process of examining Black radical thought during the COVID-19 pandemic and the ways in which Black radicalism has been and is now being imagined across contexts. Following the work of Cedric Robinson, the authors understand the Black radical tradition as a negation of Western civilization from within Western society, placing it in hostile relation to the neoliberal university. They discuss Black radicalism as anti-capitalist, anti-colonial, feminist, communally oriented, and opposed to neo/liberal ideologies. They address a range of Black socialist traditions, including those labeled communist, Black anarchist, abolitionist, and antifascist to attend to an ongoing critical-creative practice of Black resistance and collective life-making capable of adapting to and challenging the changing conditions of late capitalism.
{"title":"Reflections and Refractions of Black Radicalism","authors":"Rosalind Hampton, AJ Bedward","doi":"10.3138/topia-2023-0007","DOIUrl":"https://doi.org/10.3138/topia-2023-0007","url":null,"abstract":"This article discusses collaborative Black study that entails dialogical engagement with a range of texts and podcasts about Black radicalism and is further informed by participation in anti-capitalist, anti-colonial activism. The authors describe their process of examining Black radical thought during the COVID-19 pandemic and the ways in which Black radicalism has been and is now being imagined across contexts. Following the work of Cedric Robinson, the authors understand the Black radical tradition as a negation of Western civilization from within Western society, placing it in hostile relation to the neoliberal university. They discuss Black radicalism as anti-capitalist, anti-colonial, feminist, communally oriented, and opposed to neo/liberal ideologies. They address a range of Black socialist traditions, including those labeled communist, Black anarchist, abolitionist, and antifascist to attend to an ongoing critical-creative practice of Black resistance and collective life-making capable of adapting to and challenging the changing conditions of late capitalism.","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135778852","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Océane Jasor, Ronald Cummings, Nalini Mohabir, Christiana Abraham
This is a reflection on the uses of university apologies, prompted by the recent apology offered by Concordia University for its mishandling of Black students’ complaints of institutional racism in 1969, which culminated in the Sir George Williams University student protest, the largest protest against racism on a Canadian university campus.
最近，康考迪亚大学(Concordia university)就1969年黑人学生对制度性种族主义的投诉处理不当而道歉，这引发了对大学道歉的反思。1969年的黑人学生投诉导致了乔治·威廉姆斯爵士大学(Sir George Williams university)的学生抗议活动，这是加拿大大学校园里规模最大的反种族主义抗议活动。
{"title":"Toward a Post-Apologetic University","authors":"Océane Jasor, Ronald Cummings, Nalini Mohabir, Christiana Abraham","doi":"10.3138/topia-2023-0036","DOIUrl":"https://doi.org/10.3138/topia-2023-0036","url":null,"abstract":"This is a reflection on the uses of university apologies, prompted by the recent apology offered by Concordia University for its mishandling of Black students’ complaints of institutional racism in 1969, which culminated in the Sir George Williams University student protest, the largest protest against racism on a Canadian university campus.","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135729666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Over the past two decades, universities and colleges in Canada have increasingly styled themselves as being deeply invested in addressing anti-Black racism, coloniality, and histories of exclusion. To address these long-standing grievances, academic institutions have ramped up and mass-promoted the implementation of equity-focused initiatives such as equity, diversity, and inclusion (EDI) offices; executive-level EDI positions; race-based data collection; EDI working groups; subcommittees and councils; anti-racism charters; statements of solidarity; and EDI training and workshops. In this article, the author argues that these efforts have done nothing to meaningfully address entrenched inequities present at every level of academic institutions. Of particular focus is the role of the Black administrator, who, the author argues, is hired to nullify dissent within the institution while manufacturing optics of diversity and progress. Drawing on the author’s own experience as a former college dean, this article first provides examples of how these strategies amount to a nullification of dissent. The author argues that universities and colleges have become sophisticated in stifling legitimate challenges to hierarchies of power through incorporating and co-opting calls for change. The author shows how such practices not only undermine radical demands for change but also provide ways for institutions to maintain their racial capitalist, neoliberal objectives. In thinking about what may yet be possible in “another university,” the author reviews a set of principles derived from Black radical tradition and Black queer feminist theory, which point to ways in which we may move toward an alternative learning commons or what others refer to as the “off-university” or the “undercommons.” Extending on the concepts of the “Black test” and an “ethics of care,” the author suggests some fundamental criteria for moving toward transformed academic institutions while also addressing ways in which we can rethink notions of Black leadership that are too often deployed to frustrate calls for change.
{"title":"Equity Diversity and Inclusion and Black Higher Education Administrators: Reflections on Illusions of Change","authors":"Neil Price","doi":"10.3138/topia-2023-0016","DOIUrl":"https://doi.org/10.3138/topia-2023-0016","url":null,"abstract":"Over the past two decades, universities and colleges in Canada have increasingly styled themselves as being deeply invested in addressing anti-Black racism, coloniality, and histories of exclusion. To address these long-standing grievances, academic institutions have ramped up and mass-promoted the implementation of equity-focused initiatives such as equity, diversity, and inclusion (EDI) offices; executive-level EDI positions; race-based data collection; EDI working groups; subcommittees and councils; anti-racism charters; statements of solidarity; and EDI training and workshops. In this article, the author argues that these efforts have done nothing to meaningfully address entrenched inequities present at every level of academic institutions. Of particular focus is the role of the Black administrator, who, the author argues, is hired to nullify dissent within the institution while manufacturing optics of diversity and progress. Drawing on the author’s own experience as a former college dean, this article first provides examples of how these strategies amount to a nullification of dissent. The author argues that universities and colleges have become sophisticated in stifling legitimate challenges to hierarchies of power through incorporating and co-opting calls for change. The author shows how such practices not only undermine radical demands for change but also provide ways for institutions to maintain their racial capitalist, neoliberal objectives. In thinking about what may yet be possible in “another university,” the author reviews a set of principles derived from Black radical tradition and Black queer feminist theory, which point to ways in which we may move toward an alternative learning commons or what others refer to as the “off-university” or the “undercommons.” Extending on the concepts of the “Black test” and an “ethics of care,” the author suggests some fundamental criteria for moving toward transformed academic institutions while also addressing ways in which we can rethink notions of Black leadership that are too often deployed to frustrate calls for change.","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135729783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Paramount Pictures’ The Silent Enemy, released in 1930, is a fascinating cultural artifact made and released during the transition from silent to sound film. One of the last silent feature films made by the studio, this critically acclaimed film took three years to make and was shot in large part on location on n’Daki Menan, the traditional territory of the Teme Augama Anishnabai in northern Ontario. Like other silent films made in Indigenous communities during this period such as Curtis’ In the Land of the Head Hunters (1914) and Myles’ The Daughter of Dawn (1920), The Silent Enemy employed local Indigenous actors and drew on their knowledge and traditions to construct its vision of pre-contact Anishinaabe life. While the exact location and community are never mentioned in The Silent Enemy itself, local Anishinaabe people were hired to act in the film and make the costumes and sets according to pre-contact standards, all elements of the film form that added greatly to the production’s claims of authenticity. This cultural labour went uncredited and unacknowledged. While the film recycles the prominent ethnographic narrative of the dying “Indian” culture, it does feature ironic moments of Indigenous survivance, such as an introductory sequence with Chief Yellow Robe shot in synchronized sound, naturalistic performances, material culture designed by locals that continue to captivate community members, and over-the-top colonial takes on pre-contact life. Until now, most readings of this silent feature focused on the celebrity image of Chief Long Lance and his “outing” as an African American and its use of Native American actors in leading roles, but for far too long, the story of its long-lasting influence as both a personal and a public historical artifact for the Teme Augama Anishnabai has not been told. The authors’ method for telling this story will alternate between oral storytelling and scholarly analysis of the film’s formal and thematic elements. The authors hope that by drawing on oral and traditional storytelling approaches, Indigenous ways of knowing will be foregrounded.
{"title":"<i>The Silent Enemy</i> (1930) and n’Daki Menan: Reclaiming Mise-en-Scène as Authorial Expression","authors":"Tyson Stewart, Mary Laronde","doi":"10.3138/topia-2022-0058","DOIUrl":"https://doi.org/10.3138/topia-2022-0058","url":null,"abstract":"Paramount Pictures’ The Silent Enemy, released in 1930, is a fascinating cultural artifact made and released during the transition from silent to sound film. One of the last silent feature films made by the studio, this critically acclaimed film took three years to make and was shot in large part on location on n’Daki Menan, the traditional territory of the Teme Augama Anishnabai in northern Ontario. Like other silent films made in Indigenous communities during this period such as Curtis’ In the Land of the Head Hunters (1914) and Myles’ The Daughter of Dawn (1920), The Silent Enemy employed local Indigenous actors and drew on their knowledge and traditions to construct its vision of pre-contact Anishinaabe life. While the exact location and community are never mentioned in The Silent Enemy itself, local Anishinaabe people were hired to act in the film and make the costumes and sets according to pre-contact standards, all elements of the film form that added greatly to the production’s claims of authenticity. This cultural labour went uncredited and unacknowledged. While the film recycles the prominent ethnographic narrative of the dying “Indian” culture, it does feature ironic moments of Indigenous survivance, such as an introductory sequence with Chief Yellow Robe shot in synchronized sound, naturalistic performances, material culture designed by locals that continue to captivate community members, and over-the-top colonial takes on pre-contact life. Until now, most readings of this silent feature focused on the celebrity image of Chief Long Lance and his “outing” as an African American and its use of Native American actors in leading roles, but for far too long, the story of its long-lasting influence as both a personal and a public historical artifact for the Teme Augama Anishnabai has not been told. The authors’ method for telling this story will alternate between oral storytelling and scholarly analysis of the film’s formal and thematic elements. The authors hope that by drawing on oral and traditional storytelling approaches, Indigenous ways of knowing will be foregrounded.","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135730619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Bhangra music has generically functioned as the site for the articulation of a particular form of Jat masculinity that may be described as hypermasculine. In its glorification of Jat machismo and reification of the female as an object of the Jat’s adoration, it has perpetuated gendered stereotypes originating in feudal Punjabi cultures of honour. Several Punjabi folksongs or those attributed to legendary Punjabi folk singers map strength, courage, and virility on the Jat body in which the objectification of the female body is traditionally sanctioned as a desirable Jat attribute. In hybrid Bhangra genres, Punjabi hypermasculinity is remodelled in relation to the hypermasculinist aesthetic of black genres like rap to produce an explosive toxic masculinity. This article focuses on the hypermasculine ethic underpinning popular bhangra music, particularly the songs of two popular singers, Jazzy B and Yo Yo Honey Singh, to examine the Canadian Punjabi youth masculinities that converge on Punjabi music to reproduce traditional Punjabi patriarchies. It shows that while the appropriation of these bhangra genres enables brown Indo-Canadians and “Surrey Jacks” to constitute alternative protest masculinities in opposition to hegemonic white masculinities, they engender different forms of misogyny and violence.
Bhangra音乐通常作为表达一种特殊形式的印度男子气概的场所，这种男子气概可以被描述为超级男性化。在颂扬贾特人的男子气概和将女性物化为贾特人崇拜的对象的过程中，它延续了源自封建旁遮普荣誉文化的性别刻板印象。一些旁遮普民歌或那些传说中的旁遮普民歌将力量、勇气和男子气概映射到贾特人的身体上，其中女性身体的物化传统上被认可为可取的贾特人属性。在混合的Bhangra类型中，旁遮普的超级男子气概被重塑为与黑人类型(如说唱)的超级男子主义美学相关，以产生一种爆炸性的有毒男子气概。本文主要关注流行bhanggra音乐，特别是两位流行歌手Jazzy B和Yo Yo Honey Singh的歌曲中所体现的超级男性化伦理，以考察加拿大旁遮普青年的男性气质，这些男性气质汇聚在旁遮普音乐中，再现了传统的旁遮普父权制。它表明，虽然这些bhanggra流派的使用使棕色印度裔加拿大人和“萨里杰克”构成了反对霸权白人男性主义的另一种抗议男性主义，但它们产生了不同形式的厌女症和暴力。
{"title":"Toxic Rhythms: Protest Masculinities of “Brown Indo-Canadians” versus “Surrey Jacks”","authors":"Anjali Gera Roy","doi":"10.3138/topia-2022-0019","DOIUrl":"https://doi.org/10.3138/topia-2022-0019","url":null,"abstract":"Bhangra music has generically functioned as the site for the articulation of a particular form of Jat masculinity that may be described as hypermasculine. In its glorification of Jat machismo and reification of the female as an object of the Jat’s adoration, it has perpetuated gendered stereotypes originating in feudal Punjabi cultures of honour. Several Punjabi folksongs or those attributed to legendary Punjabi folk singers map strength, courage, and virility on the Jat body in which the objectification of the female body is traditionally sanctioned as a desirable Jat attribute. In hybrid Bhangra genres, Punjabi hypermasculinity is remodelled in relation to the hypermasculinist aesthetic of black genres like rap to produce an explosive toxic masculinity. This article focuses on the hypermasculine ethic underpinning popular bhangra music, particularly the songs of two popular singers, Jazzy B and Yo Yo Honey Singh, to examine the Canadian Punjabi youth masculinities that converge on Punjabi music to reproduce traditional Punjabi patriarchies. It shows that while the appropriation of these bhangra genres enables brown Indo-Canadians and “Surrey Jacks” to constitute alternative protest masculinities in opposition to hegemonic white masculinities, they engender different forms of misogyny and violence.","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136057743","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:A meditation on an image in Dionne Brand’s A Map to the Door of No Return, in which a young Dionne Brand discovers a book, The Black Napoleon, in the bottom drawer of her grandmother’s wardrobe, and begins to read it. “The Bottom Drawer, or, The Beginning of Reading” is also a meditation on the act of reading as related to tactility, initiation, and transformation; on ancestors and where descendants imagine their ancestors gathering; the pose of the subject in a photograph by Manuel Álvarez Bravo; the influence of The Black Napoleon in Dionne Brand’s writing/life; and the genesis, in reading, of the writer Dionne Brand.RÉSUMÉ:Ce texte est une méditation sur une image d’A Map to the Door of No Return de Dionne Brand, dans laquelle la jeune Dionne Brand découvre un livre, The Black Napoleon, dans le tiroir du bas de l’armoire de sa grand-mère, et commence à le lire. C’est aussi une méditation sur l’acte de lire dans sa relation avec la sensibilité tactile, l’initiation et la transformation ; sur les ancêtres, et sur les lieux où les descendants imaginent que leurs ancêtres se rassemblaient ; sur la pose adoptée par le sujet d’une photographie de Manuel Álvarez Bravo ; sur l’influence du Napoléon noir dans l’écriture et la vie de Dionne Brand ; et sur la genèse en lecture de l’écrivaine Dionne Brand.
摘要:一个关于迪翁·布兰德的形象的沉思，一个年轻的迪翁·布兰德发现了一本书，黑人拿破仑，在她祖母的衣柜里，然后开始阅读。“The Bottom Drawer, or The Beginning of Reading”也是对阅读行为的沉思，因为阅读行为与战术、启蒙和转化有关;关于祖先和后代想象祖先聚集的地方;手工铺设of the stairs in a摄影Álvarez布拉沃;《黑色拿破仑对迪翁·布兰德写作/生活的影响》= =地理= =根据美国人口普查，该镇的土地面积为。摘要:这篇文章是对迪翁·布兰德的《不归路之门地图》中的一幅画的沉思，在这幅画中，年轻的迪翁·布兰德在她祖母衣柜底部的抽屉里发现了一本书《黑色拿破仑》，并开始阅读。它也是对阅读行为与触觉、启蒙和转化关系的冥想;关于祖先，以及后代想象祖先聚集的地方;就铺设通过摄影的手册Álvarez布拉沃;黑色拿破仑对迪翁·布兰德写作和生活的影响;以及作家迪翁·布兰德的《创世纪》。
{"title":"The Bottom Drawer, or, The Beginning of Reading","authors":"Brandon Shimoda","doi":"10.3138/topia-2022-0025","DOIUrl":"https://doi.org/10.3138/topia-2022-0025","url":null,"abstract":"ABSTRACT:A meditation on an image in Dionne Brand’s A Map to the Door of No Return, in which a young Dionne Brand discovers a book, The Black Napoleon, in the bottom drawer of her grandmother’s wardrobe, and begins to read it. “The Bottom Drawer, or, The Beginning of Reading” is also a meditation on the act of reading as related to tactility, initiation, and transformation; on ancestors and where descendants imagine their ancestors gathering; the pose of the subject in a photograph by Manuel Álvarez Bravo; the influence of The Black Napoleon in Dionne Brand’s writing/life; and the genesis, in reading, of the writer Dionne Brand.RÉSUMÉ:Ce texte est une méditation sur une image d’A Map to the Door of No Return de Dionne Brand, dans laquelle la jeune Dionne Brand découvre un livre, The Black Napoleon, dans le tiroir du bas de l’armoire de sa grand-mère, et commence à le lire. C’est aussi une méditation sur l’acte de lire dans sa relation avec la sensibilité tactile, l’initiation et la transformation ; sur les ancêtres, et sur les lieux où les descendants imaginent que leurs ancêtres se rassemblaient ; sur la pose adoptée par le sujet d’une photographie de Manuel Álvarez Bravo ; sur l’influence du Napoléon noir dans l’écriture et la vie de Dionne Brand ; et sur la genèse en lecture de l’écrivaine Dionne Brand.","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73444138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:Aesthesis is a political matter, such that black folk have often sought to challenge a mode of representation that mythologizes blackness as mere absence or lack. There is artmaking that seeks to transfigure both the void blackness is thought to represent and a known world whose “facts” depend on a fiction of black vacancy. These are works that, in the words of curator Adrienne Edwards, “are philosophically charged, culturally compounded abstractions” and figurations “that point to discourse beyond medium and art movements,” alternately affirming nothing or attuning to the indeterminacy and incalculability of blackness, whether blackness be attributed to person, place, or thing. Perception and its organization are meaningful and necessarily remain a ground of contestation. This essay concerns the refractive potentialities of blackness as well as its density or fullness that exceed the capture of mimetic representation. It highlights works that critically explore the received terms and limits of representation in the interest of the dissolution of given categories and conceptual forms. Focusing particular attention on Faith Ringgold’s Black Light and American People series, this essay both demonstrates that the aporia and paradoxical power that “black womanhood” has come to represent is pivotal in mediating the relation between abstraction and figuration in modern art and our social worlds as well as considers related works that reposition blackness as incalculable density and a light source in its own right.RÉSUMÉ:L’esthésie est une question politique, dans la mesure où les personnes noires ont souvent cherché à contester un mode de représentation qui mythifie la noirceur en en faisant une simple absence ou un manque. Or, il existe une forme de création artistique qui cherche à transfigurer à la fois le néant que la noirceur est censée représenter et un monde connu dont les « faits » dépendent d’une fictive vacance noire. Les œuvres qu’elle produit, selon la conservatrice Adrienne Edwards, « sont des abstractions lourdes de sens philosophique et culturellement complexes » et des figurations « qui pointent vers un discours qui se situe au-delà des techniques et des mouvements artistiques », tour à tour en n’affirmant rien et en se mettant à l’écoute de l’indétermination et de l’incalculabilité de la noirceur, qu’on l’attribue à une personne, à un lieu ou à une chose. La perception et son organisation sont porteuses de sens et restent nécessairement un terrain de contestation. Cet article porte sur le potentiel réfractif de la noirceur, de même que sur sa densité ou sa plénitude, plus vastes que ce que peut en saisir la représentation mimétique. Il met en lumière des œuvres qui critiquent les termes convenus et les limites de la représentation en vue de dissoudre les catégories et les formes conceptuelles données. En accordant une attention particulière aux séries Black Light et American People de Faith Ringgold, l’article montre que l’idé
摘要:审美是一个政治问题，因此黑人经常试图挑战一种将黑人神话化为缺失或匮乏的表现模式。有一种艺术创作试图改变被认为代表的空虚的黑暗和一个已知的世界，这个世界的“事实”依赖于一个虚构的黑色空缺。用策展人埃德里安·爱德华兹(Adrienne Edwards)的话说，这些作品“充满哲学色彩，文化上混合了抽象”，“指向媒介和艺术运动之外的话语”，“要么不肯定任何东西，要么与黑色的不确定性和不可估量性相协调，无论黑色是归因于人、地点还是事物。”感知及其组织是有意义的，并且必然是争论的基础。这篇文章关注的是黑色的折射潜力，以及它的密度或丰满，超越了模仿表现的捕捉。它强调了批判性地探索代表性的接受条件和限制的作品，以消解给定的类别和概念形式。本文特别关注Faith Ringgold的《黑光》和《美国人》系列，既证明了“黑人女性”所代表的不安和矛盾的力量在调解现代艺术和我们的社会世界中抽象和具象之间的关系方面是至关重要的，也考虑了将黑人重新定位为不可估量的密度和自身权利的光源的相关作品。RÉSUMÉ:从政治角度看，从政策角度看，从政策角度看，où从人事角度看，从人事角度看，从人事角度看，从人事角度看，从人事角度看，从人事角度看，从人事角度看，从人事角度看，从人事角度看，这是一个简单的问题。或者，是否会存在一种形式的交换交换，即交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换交换。Les œuvres qu ' elle product, selon la conservatrice Adrienne Edwards，“sont des abstractions, lades des sens, philosophique, and culcullement complex”，et des figurations，“qui pointvers, undesrique, qui situe, audelodes techniques, et des momoations，”，tour, tour, en，肯定，rien, et, ense meant, comente, comente, comente, comente, comente, comente, comente, comente, comente, comente, comente, comente, comente, comente, comente, comente, comente, comente, comente, comente, comente, comente。“感知”和“组织”都是指在争论的领域内获得成功的人。这篇文章描述了潜在的变异体:变异体:变异体:变异体:变异体:变异体:变异体:变异体:变异体:变异体:变异体:变异体:变异体:变异体:变异体:变异体。我将在下列情况下继续讨论:1 .非常重要的是，在下列情况下，我们将讨论下列问题:1 .在下列情况下，我们将讨论下列问题:1 .在下列情况下，我们将讨论下列问题:根据特别关注《关于黑光与美国人的交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》、《关于女性交换交换器》等。
{"title":"Black Light: On the Origin and Materiality of the Image","authors":"Z. Jackson","doi":"10.3138/topia-2022-0044","DOIUrl":"https://doi.org/10.3138/topia-2022-0044","url":null,"abstract":"ABSTRACT:Aesthesis is a political matter, such that black folk have often sought to challenge a mode of representation that mythologizes blackness as mere absence or lack. There is artmaking that seeks to transfigure both the void blackness is thought to represent and a known world whose “facts” depend on a fiction of black vacancy. These are works that, in the words of curator Adrienne Edwards, “are philosophically charged, culturally compounded abstractions” and figurations “that point to discourse beyond medium and art movements,” alternately affirming nothing or attuning to the indeterminacy and incalculability of blackness, whether blackness be attributed to person, place, or thing. Perception and its organization are meaningful and necessarily remain a ground of contestation. This essay concerns the refractive potentialities of blackness as well as its density or fullness that exceed the capture of mimetic representation. It highlights works that critically explore the received terms and limits of representation in the interest of the dissolution of given categories and conceptual forms. Focusing particular attention on Faith Ringgold’s Black Light and American People series, this essay both demonstrates that the aporia and paradoxical power that “black womanhood” has come to represent is pivotal in mediating the relation between abstraction and figuration in modern art and our social worlds as well as considers related works that reposition blackness as incalculable density and a light source in its own right.RÉSUMÉ:L’esthésie est une question politique, dans la mesure où les personnes noires ont souvent cherché à contester un mode de représentation qui mythifie la noirceur en en faisant une simple absence ou un manque. Or, il existe une forme de création artistique qui cherche à transfigurer à la fois le néant que la noirceur est censée représenter et un monde connu dont les « faits » dépendent d’une fictive vacance noire. Les œuvres qu’elle produit, selon la conservatrice Adrienne Edwards, « sont des abstractions lourdes de sens philosophique et culturellement complexes » et des figurations « qui pointent vers un discours qui se situe au-delà des techniques et des mouvements artistiques », tour à tour en n’affirmant rien et en se mettant à l’écoute de l’indétermination et de l’incalculabilité de la noirceur, qu’on l’attribue à une personne, à un lieu ou à une chose. La perception et son organisation sont porteuses de sens et restent nécessairement un terrain de contestation. Cet article porte sur le potentiel réfractif de la noirceur, de même que sur sa densité ou sa plénitude, plus vastes que ce que peut en saisir la représentation mimétique. Il met en lumière des œuvres qui critiquent les termes convenus et les limites de la représentation en vue de dissoudre les catégories et les formes conceptuelles données. En accordant une attention particulière aux séries Black Light et American People de Faith Ringgold, l’article montre que l’idé","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81393439","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:Sometimes, plans fail. I had planned to write about how Dionne Brand’s A Map to the Door of No Return: Notes to Belonging spoke to the study of religion in various ways. But after encountering Map’s speaker on the ocean with Yemaya, my plans failed, and opened a different way of thinking about religion and its study. In this regard, this essay speaks to religion not as a category of human experience, but instead as a kind of movement that sets our categories in default. Turning to scholars of religion like Charles Long and Black studies scholars like Sarah Jane Cervenak, I eventually suggest that Map offers us wandering as a method for studying religion; instead of coming with our received categories, I suggest, we must instead adopt wandering as a method; instead of starting with traditions, beliefs, theologies and histories, we should instead insist on life—and allow that insistence to guide our study.RESUMÉ:Parfois les plans échouent. J’avais prévu d’écrire un texte sur les diverses manières dont A Map to the Door of No Return: Notes to Belonging de Dionne Brand évoque l’étude de la religion. Mais après avoir rencontré l’orateur de Map sur l’océan avec Yemaya, mon plan a échoué, et une façon différente de penser la religion et son étude s’est présentée. C’est ainsi que cet article considère la religion non pas comme une catégorie de l’expérience humaine, mais plutôt comme une sorte de mouvement qui réinitialise nos paramètres catégoriels. Empruntant à des érudits de la religion comme Charles Long et à des spécialistes des études sur les Noir·es comme Sarah Jane Cervenak, j’en arrive à considérer que l’œuvre de Brand nous propose l’errance comme méthode d’étude de la religion : au lieu d’y arriver avec nos catégories reçues, ma suggestion est que nous devons plutôt adopter l’errance comme méthode ; au lieu de commencer par les traditions, les croyances, les théologies et les histoires, nous devrions plutôt insister sur la vie – et permettre à cette insistance de guider notre étude.
摘要:有时候，计划会失败。我本来打算写迪翁·布兰德(Dionne Brand)的《通往不归之门的地图:归属笔记》(A Map to the Door of No Return: Notes to Belonging)如何以不同的方式讲述宗教研究。但在与Yemaya在海上遇到Map的演讲者后，我的计划失败了，并开启了一种不同的思考宗教及其研究的方式。在这方面，这篇文章不是把宗教作为人类经验的一个类别，而是作为一种运动，将我们的类别默认。谈到查尔斯·朗(Charles Long)等宗教学者和莎拉·简·瑟维纳克(Sarah Jane Cervenak)等黑人研究学者，我最终认为，地图为我们提供了一种研究宗教的方法;我建议，我们不应按照既定的分类来，而应采用流浪的方法;我们应该坚持生活，而不是从传统、信仰、神学和历史出发，并让这种坚持指导我们的学习。RESUMÉ:Parfois les plans前程无忧。我prevu d写联合国对于苏尔les不同种操作不只能进不能退的映射到门:归属感de迪翁品牌揽胜向我指出de la宗教。Mais aprires avoir rencontrorel 'orateur de Map sur l ' ocsians和emaya, monplan a samchouise, monplan a samchouise, monplan a samchouise, monplan a samchouise, monplan a samchouise, monplan a samuise, monplan a samuise, monplan a samuise, monplan a samuise, monplan a samuise这篇文章讨论了关于“不通过交换交换的人的交换交换的经验”的问题，主要是关于plutôt交换交换的人的交换交换的运动，交换交换的交换交换的交换。Empruntant (des des samustr de la religion comme Charles Long)和(des samustr de samustr de samustr de samustr de samustr de Noir)·(Sarah Jane Cervenak)，当到达时，考虑到samustr de all ' œuvre de Brand nous提议将samustr de samustr与samustr合并，建议将samustr与samustr合并plutôt采纳samustr与samustr合并;开始的地方有不同的传统，不同的传统，不同的前程，不同的历史，不同的前程plutôt不同的前程，不同的前程，不同的前程，不同的前程。
{"title":"Futile Plans: Map, Wandering, and the Study of Religion","authors":"B. Gray","doi":"10.3138/topia-2022-0029","DOIUrl":"https://doi.org/10.3138/topia-2022-0029","url":null,"abstract":"ABSTRACT:Sometimes, plans fail. I had planned to write about how Dionne Brand’s A Map to the Door of No Return: Notes to Belonging spoke to the study of religion in various ways. But after encountering Map’s speaker on the ocean with Yemaya, my plans failed, and opened a different way of thinking about religion and its study. In this regard, this essay speaks to religion not as a category of human experience, but instead as a kind of movement that sets our categories in default. Turning to scholars of religion like Charles Long and Black studies scholars like Sarah Jane Cervenak, I eventually suggest that Map offers us wandering as a method for studying religion; instead of coming with our received categories, I suggest, we must instead adopt wandering as a method; instead of starting with traditions, beliefs, theologies and histories, we should instead insist on life—and allow that insistence to guide our study.RESUMÉ:Parfois les plans échouent. J’avais prévu d’écrire un texte sur les diverses manières dont A Map to the Door of No Return: Notes to Belonging de Dionne Brand évoque l’étude de la religion. Mais après avoir rencontré l’orateur de Map sur l’océan avec Yemaya, mon plan a échoué, et une façon différente de penser la religion et son étude s’est présentée. C’est ainsi que cet article considère la religion non pas comme une catégorie de l’expérience humaine, mais plutôt comme une sorte de mouvement qui réinitialise nos paramètres catégoriels. Empruntant à des érudits de la religion comme Charles Long et à des spécialistes des études sur les Noir·es comme Sarah Jane Cervenak, j’en arrive à considérer que l’œuvre de Brand nous propose l’errance comme méthode d’étude de la religion : au lieu d’y arriver avec nos catégories reçues, ma suggestion est que nous devons plutôt adopter l’errance comme méthode ; au lieu de commencer par les traditions, les croyances, les théologies et les histoires, nous devrions plutôt insister sur la vie – et permettre à cette insistance de guider notre étude.","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83337825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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