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In a disjointed narrative drunkenness that straddles oneiric language, apocalyptic vaticinations, and alcoholic delirium, the narrative of the young itinerant preacher in John Edgar Wideman's Cattle Killing unfurls. The narrative purports to be clear in launching the young lover into an Cattle Killing unfurls. The narrative purports to be clear in launching the young lover into an Cattle Killing asymptotic search for his soul mate who is nothing but a spirit akin to ogbanji, successively incarnated in deified women who experience an elusive existence and a tragic death. However, it fails to dispel, in readers, a deep doubt as to the intrinsic symbolism of this soul mate, and, finally, dissuades them that it is an ordinary love story. The Cattle Killing quilts the story of the The Cattle Killing quilts the story of the The Cattle Killing deadly prophecy of Nongqawuse, decisive in the colonial conquest of the Xhosas in Southern Africa, into that of the epidemic yellow fever in Philadephia, and plunges the protagonist into a melancholic quest on which African people's awakening is premised. Voudoun esthetics, Lacan's theory of desire, and Genettian narratology constitute the major paradigm on which the textual analysis of this paper proceeds. Its aim is to highlight the narrative devices by which the poetics of affliction, melancholy and regret is activated in the work, with the aim of echoing its call for the improvement of the black people's condition in the United States and all over the world.
Chiasma: A Site for Thought, 2023
This essay extends my ongoing elaboration of what I call the Black messianic as a paradigm that emerges from the constellation of Afropessimism and political theology. The iteration at play here enfolds and intensifies the deconstructive quasi-transcendental structure(s) of the apocalyptic, hauntological, and messianic by attending to modernity's singular specter: the Black-Slave. I deploy these "hyperconceptual" ideas from Jacques Derrida's late "theological turn" to speculate on how the Human can accept the modern Slave's invitation to what Frank Wilderson calls the dance of social death. The exigency of this invitation is marked by Afropessimism's contention that Humanity cannot simply undo its anti-Black structural positionality/capacity as long as the World persists. In another attempt to inhabit this aporia, the apocalyptic hauntology of Black messianicity names a vertiginous experiment in which the Human can perhaps begin to deconstruct its parasitic capacity for presence through an iterable mode of "dying" to the World in an impossible fidelity to Black social death's nonbeing-in-worldlessness.
This paper aims to explore two of Frida Kahlo’s paintings, “The Little Deer” and “My Birth,” through a religious perspective. A Mexican of both European and indigenous heritage, Kahlo infuses religious iconography from both her cultural backgrounds to express her pain. In “The Little Deer,” she alludes to the martyr Saint Sebastian and pre-Hispanic burial customs to express her perpetual state of torment. In “My Birth”, Kahlo brings herself to the rank of Christ, by using her miscarriage as a symbol of resurrection. In these self-portraits, traditional religious images become, therefore, symbols of the painter herself. Frida Kahlo thus finds a way to transforms her pain into the quality of altruistic martyrs.
Peace & Change, 2011
Africa, 2012
A experiencia colonial e particularmente a introducao do cristianismo e do islamismo na Africa alteraram o tecido e as formas de vida socio-cultural Africano. Missionarios europeus e arabes diligentemente espalharam suas crencas religiosas que, fundidas com algumas praticas culturais africanas, desde entao, determinaram o status das mulheres. O colonialismo, o cristianismo e o islamismo masculinizaram qualquer territorio em que entraram, desmantelando sistemas matriarcais que coexistiam com o patriarcado em algumas sociedades africanas pre-coloniais. Forneceram tambem um quadro ideologico para o papel social das mulheres. As construcoes poeticas tambem contribuiram largamente para consolidar a subalternizada imagem/ papel das mulheres africanas criadas pelo colonialismo e pelas prescricoes religiosas em suas representacoes textuais. A retratacao poetica das mulheres africanas como maes, em termos de suas capacidades de carinho, manteve-as em uma posicao essencialmente problematica
Research in African Literatures, 2019
Critics largely interpret Death and the King's Horseman as a representation of a particular cultural trauma: African secularization under colonial modernity. If, however, the nation-state presupposes a political theology, then colonization is not secularization, but a transition into a new order of the sacred. I argue that Horseman stages this process as a cosmological trauma emerging through a transfiguration of sacrifice. As an indigenous death rite transfigures into an imperial possession rite, incarnating the political theology of colonized life, the cyclic time of Yoruba cosmology assumed within the drama becomes entangled in the sequential time of colonial modernity. Beyond representing this trauma, Horseman ritualizes it, providing a passage into modernity by aesthetically mediating that which it laments and, moreover, offering a new vision of community. This process bears implications exceeding Horseman criticism, addressing the discourses of biopolitics, political theology, cultural trauma theory, postcolonial studies, and tragic theory.
A hermeneutic and poetic exploration of suffering offers a new perspective, or perhaps an ancient one, to understand beauty: an aesthetic of black. Through mythological and alchemical amplification, we are invited to revision a description of descent as one that is both beautiful and good-or at least one that leads to both. Descent and its accompanying nigredo, the initial stage of alchemy, have been considered the most negative, difficult, and dangerous of life's unfolding movements. Read in its characteristic blackening, the depth of ice, isolation, and cold beneath the common fire, intensity, and heat of hell is described as a way toward transformation-a glimpse that is shared through a personal story that is inset within the collective narrative. Descent has also been understood as a journey to the land of the dead, to the ancestors, and to the darkness of humanity-a depth that requires the softening and release of ego's centrality in life. This place is contrasted to the night sea journey because it does not seek to strengthen the ego; it seeks its unthinkable dissolution. Thereby a case is made for enduring this experience as a source of and for creativity-nigredo is an essential part of life and may well be transformed through an aesthetic sensibility. In facing death, in all its literal and metaphorical challenges, surrender is often the only course available, followed by learning to die-both of which enable a symbolic third to evolve into a vital psychological reality. In this way suffering serves and is seen as a way of knowing and a way to be ethically in life.
Throughout the course of the present paper, I intend to discuss both the similarities and the differences in the types of suffering portrayed within the musical genres of the subgroup cante jondo of the flamenco from the Spanish province of Andalusia and those of Mexican rancheras. The paper will first define each genre and then at length discuss the cante jondo of flamenco: from its origin and ideological base of suffering to its subsequent development as a contingence in Spanish and particularly Andalusian society, after which point I will discuss the same points for the Mexican ranchera, from its origin and ideological base of suffering to its subsequent development as a cornerstone of Mexican society. I then respectively proceed to discuss the development of each genre in order to discuss any possible changes of the ideological basis of suffering upon which each genre was founded. I then conclude by comparing the differences in portrayals of suffering between that of the flamenco and ranchera.
Blackness confounds meaning. At once the condition of possibility for the emergence of modernity and the limit-case for humanity as such, Black being is enshrouded in paradoxes and aporias, posing a number of problems for thought. This course aims to foster the development of conceptual tools and reading practices with which to engage the problematic of Blackness. Mobilizing “poetics” in the broadest sense of the term—i.e., as a mode of articulation and a system of meaning—this course brings together Black critical theory and contemporary black poetry in order to think through key sites of conflict in the theorization of Blackness. Rather than offer a history of Black poetry, this course is interested in approaching poetry as a crucial node of Black critical thought. This course will pay particular attention to questions of form, genre, the archive, queerness, gender, visuality, ontology and temporality as they approach and are undone by Blackness.
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