Challenging the notion of theory as white and experience as black, Lewis Gordon here offers a philosophical portrait of the thought and life of the Martinican-turned-Algerian revolutionary psychiatrist and philosopher Frantz Fanon as an example of "living thought" against the legacies of colonialism and racism, and thereby shows the continued relevance and importance of his ideas.
The legendary Greek figure Orpheus was said to have possessed magical powers capable of moving all living and inanimate things through the sound of his lyre and voice. Over time, the Orphic theme has come to indicate the power of music to unsettle, subvert, and ultimately bring down oppressive realities in order to liberate the soul and expand human life without limits. The liberating effect of music has been a particularly important theme in twentieth-century African American literature. The nine original essays in Black Orpheus examines the Orphic theme in the fiction of such African American writers as Jean Toomer, Langston Hughes, Claude McKay, James Baldwin, Nathaniel Mackey, Sherley Anne Williams, Ann Petry, Ntozake Shange, Alice Walker, Gayl Jones, and Toni Morrison. The authors discussed in this volume depict music as a mystical, shamanistic, and spiritual power that can miraculously transform the realities of the soul and of the world. Here, the musician uses his or her music as a weapon to shield and protect his or her spirituality. Written by scholars of English, music, women's studies, American studies, cultural theory, and black and Africana studies, the essays in this interdisciplinary collection ultimately explore the thematic, linguistic structural presence of music in twentieth-century African American fiction.
Written in celebration of Frantz Fanon's seventieth birthday, Lewis Gordon's Fanon and the Crisis of European Man engages with the work of Fanon in novel and interesting ways. As the first to analzye the work of Fanon as an existential-phenomenological of human sciences and liberation philosopher, Gordon deploys Fanon's work to illuminate how the "bad faith" of European science and civilization have philosophically stymied the project of liberation. Fanon's body of work serves as a critique of European science and society, and shows the ways in which the project of "truth" is compromised by Eurocentric artificially narrowed scope of humanity --a circumstance to which he refers as the crisis of European Man.
Black Existentialism and Decolonizing Knowledge collects key philosophical writings of Lewis R. Gordon, a globally renowned scholar whose writings cover liberation struggles across the globe and make field-defining contributions to the philosophy of existence, philosophy of race, Africana philosophy, philosophy of human sciences, aesthetics, and decolonization. Gordon's expansive output ranges across phenomenology, anti-Blackness, activist thinkers, sexuality, Fanon, Jimi Hendrix, Black Jewish struggles, critical pedagogy, psychoanalysis, and Ubuntu philosophy. Edited by Rozena Maart and Sayan Dey, two decolonial thinkers from South Africa and India, this reader shifts attention away from colonial centres of power, encouraging global dialogue across students, scholars, and activists. Featuring a foreword by the celebrated novelist and postcolonial thinker, Ngugi wa Thiong'o, this reader includes a mixture of research articles, short critical essays, reflections, interviews, poems, and photographs in the creative pursuit of liberation.
The legendary Greek figure Orpheus was said to have possessed magical powers capable of moving all living and inanimate things through the sound of his lyre and voice. Over time, the Orphic theme has come to indicate the power of music to unsettle, subvert, and ultimately bring down oppressive realities in order to liberate the soul and expand human life without limits. The liberating effect of music has been a particularly important theme in twentieth-century African American literature. The nine original essays in Black Orpheus examines the Orphic theme in the fiction of such African American writers as Jean Toomer, Langston Hughes, Claude McKay, James Baldwin, Nathaniel Mackey, Sherley Anne Williams, Ann Petry, Ntozake Shange, Alice Walker, Gayl Jones, and Toni Morrison. The authors discussed in this volume depict music as a mystical, shamanistic, and spiritual power that can miraculously transform the realities of the soul and of the world. Here, the musician uses his or her music as a weapon to shield and protect his or her spirituality. Written by scholars of English, music, women's studies, American studies, cultural theory, and black and Africana studies, the essays in this interdisciplinary collection ultimately explore the thematic, linguistic structural presence of music in twentieth-century African American fiction.
This book offers a theory of disaster in modern and contemporary society and its impact on the construction of social and political life. The theory is premised upon what the authors call "the sign continuum," where disaster spreads across society through efforts to evade social responsibility for its causes and consequences. Phenomena generated by such efforts include the social manifestation of monstrosity (disastrous people and other forms of living things) and an emerging antipolitics in an effort to assert rule and order. A crucial development is the attack on speech, a fundamental feature of political life, as manifested by the increased expectations of categories of people whose containment calls for shunning and silence.
Not Only the Master's Tools brings together new essays on African American studies. It is ideal for students and scholars of African studies, philosophy, literary theory, educational theory, social and political thought, and postcolonial studies.
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