Pub Date : 2022-11-22DOI: 10.1080/09502386.2022.2104900
Marzia Milazzo
ABSTRACT Placing Paul Gilroy’s The Black Atlantic: Modernity and Double Consciousness (1993) within a larger historical and transnational context, this essay interrogates Gilroy’s uncritical deployment of mestizaje and hybridity to theorize Black subject formation and Black cultural productions. In doing so, it shows that the exclusion of Afro-Latin America and the Hispanophone Caribbean has crucial consequences for the work’s conceptualization of the Black Atlantic and its broader racial politics. While Gilroy seeks to repudiate what he calls ‘the dangerous obsessions with ‘racial’ purity which are circulating inside and outside black politics,’ I argue that the obsession with hybridity that animates Gilroy’s work is no less dangerous. Contrary to Gilroy’s assumption, ‘creolisation, métissage, mestizaje, and hybridity’ do not ‘exceed racial discourse,’ but are rather embedded in the history and logics of the Latin American eugenics movement. As it fails to contend with the material histories of racial mixture as a white supremacist technology, The Black Atlantic echoes some of these eugenicist logics, colluding with the anti-Black agenda that it seeks to contest. In the process, the book prefigures the racial disavowal of Gilroy's later work and leaves us with inadequate tools for understanding the workings of racial power.
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Pub Date : 2022-11-13DOI: 10.1080/09502386.2022.2144398
K. Glynn, J. Cupples
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Pub Date : 2022-11-10DOI: 10.1080/09502386.2022.2104895
Aretha Phiri
ABSTRACT This essay traces the predominant counter-hegemonic, counter-discursive political and cultural models that obtain on either side of the Atlantic – the black Atlantic and the (pan-)Africanist. Typically read as disparate, even oppositional, competing ideologies, this essay examines the ways in which black Atlantic and Africanist thought migrate – travelling and journeying in ironic echoes and reverberations – across space and time, following similar contours that inscribe troublingly totalizing and exclusionary ideational narratives of black diaspora cultures and ontologies. Engaging the delimiting, signifying imprints and prescriptive modalities that inform and structure both theoretical models, this essay attempts to put black Atlantic and Africanist paradigms into conversation in ways that expand critical studies of black diasporic cultures, African cultures, and their intersecting relationships. In this regard, arguing that such intersectional relations can be evidenced in the migratory, border-crossing ethos and transgressive aesthetic of contemporary African diasporic literature, the essay’s particular reading of Adichie’s Americanah and Bulawayo’s We Need New Names suggests the ways in which these texts advance an ethical imperative for more malleable, inclusive and expansive, ways of reading and re-inscribing the (black) world.
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Pub Date : 2022-11-08DOI: 10.1080/09502386.2022.2142804
T. Lewis, I. Holcombe-James, Andrew Glover
This article draws on an ethnographic study of employees working from home in 13 Australian households in Sydney, New South Wales and Melbourne, Victoria during the COVID-19 pandemic in 2020. Conducting interviews and household walk throughs via video conferencing software, supplemented by diaries and pictures from householders, we were initially interested in how people managed working from home via digital technology. As the project evolved however, we were struck by the reconfigured role of home life more broadly. During this time, many people found themselves not only restricted to their homes but having to experiment with new modes of living as households became hubs for economic, social, and infrastructural flows and the circulation of goods and services. The households in our study engaged in an array of practices related to self-managing employment from home. What we might think of as the ‘work of working from home’ practices included everything from managing workspaces, utilities and energy use, to the emotional atmosphere of the home. This reconfiguration of the home as a central hub of social, cultural, and economic life can be productively understood via two complementary approaches: what feminist planners Gilroy and Booth ([1999]. Building an infrastructure for everyday lives. European planning studies, 7 (3), 307–324) have termed ‘the infrastructure of everyday life’, and Gibson and Graham's ([2008] Diverse economies: performative practices for ‘other worlds’. Progress in human geography, 32 (5), 613–632) work on alternative economies. While the practices we studied could be seen as representing a privileged (in terms of class and race) pandemic response, following Gibson-Graham we frame our findings in terms of (re)imagining future social realities. We identify 3 categories: new domesticities;the ‘living infrastructures’ of work–home life;and everyday economies. In doing so we highlight the hidden and often feminized elements of civic and domestic life – the ‘foundational economy’ (Barbera, F., Negri, N., and Salento, A., 2018. From individual choice to collective voice. Foundational economy, local commons and citizenship. Rassegna Italiana di sociologia, 2, 371–398.) of care and service provision and beyond – to emphasize just how central this foundational economy has become to our post-vaccination futures. [ FROM AUTHOR]
本文借鉴了2020年2019冠状病毒病大流行期间，对悉尼、新南威尔士州和维多利亚州墨尔本13个澳大利亚家庭在家工作的员工进行的民族志研究。我们通过视频会议软件进行了采访和家庭巡视，并辅以住户的日记和照片，我们最初对人们如何通过数字技术管理在家工作感兴趣。然而，随着项目的发展，我们对更广泛的家庭生活角色的重新配置感到震惊。在此期间，许多人发现自己不仅被限制在家里，而且不得不尝试新的生活方式，因为家庭成为经济、社会和基础设施流动以及商品和服务流通的中心。在我们的研究中，家庭参与了一系列与在家自我管理就业相关的实践。我们可能认为的“在家工作”实践包括从管理工作空间、公用事业和能源使用到家庭的情感氛围等方方面面。这种将家庭作为社会、文化和经济生活的中心枢纽的重新配置可以通过两种互补的方法有效地理解:女权主义规划师Gilroy和Booth([1999])。为日常生活建设基础设施。欧洲规划研究，7(3)，307-324)将“日常生活的基础设施”和Gibson和Graham的([2008]多样化经济:“其他世界”的行为实践)称为“日常生活的基础设施”。人文地理进展，32(5)，613-632。虽然我们研究的做法可以被视为代表特权(在阶级和种族方面)流行病应对，但根据吉布森-格雷厄姆，我们根据(重新)想象未来的社会现实来构建我们的研究结果。我们确定了3个类别:新的家庭;工作与家庭生活的“生活基础设施”;以及日常经济。在这样做的过程中，我们强调了公民和家庭生活中隐藏的、往往是女性化的元素——“基础经济”(巴贝拉，F.，内格里，N.，和萨伦托，A.， 2018)。从个人选择到集体发声。基础经济，地方公地和公民权。《意大利社会学杂志》(Rassegna Italiana di sociologia, 2,371 - 398.))的护理和服务提供及其他方面的研究，以强调这一基础经济对我们接种疫苗后的未来有多么重要。[源自作者]
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Pub Date : 2022-11-08DOI: 10.1080/09502386.2022.2142805
C. Pedwell
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Pub Date : 2022-10-26DOI: 10.1080/09502386.2022.2139400
P. Pezzullo
Many of us have drawn on the now classic circuit of culture to radically contextualize media technology as part of larger systems of regulation, production, consumption, representation, and identity. Although I find it generative, it long has bothered me that ecology and labour were not initially part of that framework. Discard Studies offers a compelling intervention for how we might rethink the circuit of culture by considering: what if – instead of centring a desirable capitalist commodity in our research epistemologies of media technologies – we entered through the underbelly of racialized, gendered, and ableist capitalism through undesirable materials, often located in the hidden abode away from elites, such as toxic pollution and commercial content management? Discard Studies is a collaboration between two geographers at Memorial University of Newfoundland. Max Liboiron’s Pollution as Colonialism established them as a leading critic of plastic waste and decoloniality, and Josh Lepawsky’s Reassembling Rubbish established him as a leading critic of the global trade and trafficking of e-waste. Together, they wrote Discard Studies to identify key commitments for studying what and who is discarded today, offering a ‘broad and systematic approach to how some materials, practices, regions and people are valued and devalued’ (p. 3). The Introduction opens by reflecting on how BPA (bisphenol A, a toxic synthetic chemical) circulates through cash register receipts. Troubling the traditional linear waste management regime of production-consumption-disposal, the authors map a more complex system consisting of feedback loops and exits, which involve economic, political, and material flows, interactions, and structures. Liboiron and Lepawsky then apply this framework to consider, for
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Ein Film ohne Musik ist praktisch nicht denkbar. Doch in welchen Erzählsituationen geht ihr Einfluss tatsächlich über die reine Verstärkung anderer Elemente hinaus? Alexander Lederer sucht in zwölf Hollywoodfilmen nach Spuren von eigenständigen narrativen Potenzialen der Musik im Film. Er entwickelt ein filmnarratologisches Modell, das die audiovisuelle Erzählung als performatives Ereignis begreift, in dem Publikum und Film als intentional »denkende« Akteur*innen aufeinandertreffen. Durch die Hinzunahme empirischen Werkzeugs der Performance Studies rückt er das subjektive Erleben ins Zentrum und zeichnet ein vielschichtiges Bild der komplexen Leistungsfähigkeit von Musik im Film.
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