BLACK SCHOLAR最新文献_第9页

Antillean Women and Black Internationalism 安的列斯妇女与黑人国际主义

IF 0.4

BLACK SCHOLAR Pub Date : 2021-04-03 DOI: 10.1080/00064246.2021.1888639

Myriam Moïse

{"title":"Antillean Women and Black Internationalism","authors":"Myriam Moïse","doi":"10.1080/00064246.2021.1888639","DOIUrl":"https://doi.org/10.1080/00064246.2021.1888639","url":null,"abstract":"I n the late 1920s, Martinican writer Jane Nardal questioned blackness and developed an avant-garde analysis in her essay “Black Internationalism” pointing out the importance of Black movements worldwide and the necessity to assert the solidarity of global Black identities beyond borders. While Nardal’s essay highlighted key concepts of race consciousness, duality of Black Antillean identities and complexity of the French-speaking new Negro, her writing was dismissed and considered low-profile and politically insignificant. Nardal’s “Black Internationalism” was published in 1928, hence 10 years earlier than Aimé Césaire’s most influential Notebook for the Return to my Native Land (1939), but the latter is however considered as the historical landmark for the beginning of the Négritude movement. As matter of fact, to what extent did Antillean women contribute to the growth of Black consciousness in the French Caribbean and its diasporas and to what degree were their contributions acknowledged as valuable and significant within the global impact of the Négritude ideology? As a French Caribbean territory, Martinique has indeed forged its intellectual reputation thanks to a number of Black theorists and writers, mainly men, who have contributed to the global efforts for Black freedom, discursive assertion and Black struggles across the African Diaspora. Aimé Césaire, Frantz Fanon, Edouard Glissant, Jean Bernabé, Raphael Confiant, Patrick Chamoiseau have all highlighted Martinique as a strong contributor to the development of Black Antillean ideologies on a global scale. The creative and theoretical contributions of Aimé Césaire as well as his political engagement made him one of the best known Martinican personality internationally, particularly as he was one of the founding fathers of Négritude with French Guyanese Leon Gontran Damas and Senegalese Leopold Sédar Senghor. Césaire and Senghor studied and became friends in Paris at the prestigious High School Louis-le-Grand; it was also in Paris that Césaire met numerous fellow African students and became increasingly aware of the ongoing alienation in the French colonial societies in his home island Martinique and in the French overseas territories overall. With a group of fellow students, Césaire created the newspaper L’Etudiant noir (The Black Student) in 1934, an activist journal condemning French colonialism. Aimé Césaire was a strong voice denouncing cultural assimilation processes in France and calling to value African cultures which were historically undermined by the French colonial system. Césaire was above all a humanist","PeriodicalId":45369,"journal":{"name":"BLACK SCHOLAR","volume":"51 1","pages":"23 - 32"},"PeriodicalIF":0.4,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00064246.2021.1888639","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49552403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

After the Party: A Manifesto for Queer of Color Life 《派对之后:有色人种酷儿生活宣言》

IF 0.4

BLACK SCHOLAR Pub Date : 2021-01-02 DOI: 10.1080/00064246.2020.1855294

Anna Ziering

引用次数: 1

White Rebels in Black: German Appropriation of Black Popular Culture 黑人中的白人反叛:德国对黑人流行文化的挪用

IF 0.4

BLACK SCHOLAR Pub Date : 2021-01-02 DOI: 10.1080/00064246.2020.1855296

P. J. Edwards

{"title":"White Rebels in Black: German Appropriation of Black Popular Culture","authors":"P. J. Edwards","doi":"10.1080/00064246.2020.1855296","DOIUrl":"https://doi.org/10.1080/00064246.2020.1855296","url":null,"abstract":"What’s so rebellious about black culture? Over the course of the 20 th century, numerous works of German literature, film, art, and music have engaged with or borrowed aspects of African-American culture. Whether these kinds of engagement constitute a kind of admiration—the imitation-as-flattery claim—or form part of the long legacy of European colonialism, remains a matter of some debate in German Studies. Priscilla Layne notes in the introduction to White Rebels in Black: German Appropriation of Black Popular Culture that her book “intervenes in the largely positive discussion of the white German valorization of black popular culture” to argue that this trend represents “a selfish attempt to resolve postwar guilt over the Holocaust” (2). By covering six decades from the immediate postwar era through the early 21 st century, Layne is able to investigate changing German attitudes toward black culture via works of literature, film, music, and autobiography. The first three chapters address white German aesthetic interpretations and political orientations toward African Americans or Africans in Germany, whereas the final two chapters turn to the aesthetic production and personal narratives of a several black German artists in consideration of a fuller perspective on the cultural exchange across lines of racial identification in Germany. Layne’s book attempts to parse the distinction between appreciation and cultural appropriation, taking works in which white German men identify themselves as “rebels,” as outsiders to mainstream German culture—and dominant conceptions of white German masculinity—through an affiliation or even outright identification with Africans, African Americans, or Afro-Germans. In these works, black culture is positioned as inherently “rebellious” and understood as always already counter-cultural in Germany despite the presence of black people in Germany since at least the 19 th century, when the German Empire controlled large swaths of territory in then-German East Africa, West Africa, and Southwest Africa. At the same time, the reception of African-American culture in Germany—beginning, appropriately enough, with the","PeriodicalId":45369,"journal":{"name":"BLACK SCHOLAR","volume":"51 1","pages":"73 - 75"},"PeriodicalIF":0.4,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00064246.2020.1855296","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48229959","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The Sound of Luxury 奢侈之声

IF 0.4

BLACK SCHOLAR Pub Date : 2021-01-02 DOI: 10.1080/00064246.2020.1855072

P. Samuel

引用次数: 0

Impossible Privacy 不可能的隐私

IF 0.4

BLACK SCHOLAR Pub Date : 2021-01-02 DOI: 10.1080/00064246.2020.1855090

Christen A. Smith

引用次数: 3

Minor Characters, Major Silences, or Against the Compulsion to Talk 次要人物，主要沉默，或反对强迫说话