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A powerful and original argument that the practice of scholarship is grounded in the concept of radical freedom, beginning with the freedoms of inquiry, thought, and expression. Why are scholars and scholarship invariably distrusted and attacked by authoritarian regimes? Geoffrey Galt Harpham argues that at its core, scholarship is informed by an emancipatory agenda based on a permanent openness to the new, an unlimited responsiveness to evidence, and a commitment to conversion. At the same time, however, scholarship involves its own forms of authority. As a worldly practice, it is a struggle for dominance without end as scholars try to disprove the claims of others, establish new versions of the truth, and seek disciples. Scholarship and Freedom threads its general arguments through examinations of the careers of three scholars: W. E. B. Du Bois, who serves as an example of scholarly character formation; South African Bernard Lategan, whose New Testament studies became entangled on both sides of his country’s battles over apartheid; and Linda Nochlin, whose essay “Why Have There Been No Great Women Artists?” virtually created the field of feminist art history.

Learning and scholarship. --- Intellectual freedom. --- Du Bois, W. E. B. --- Academic. --- Art history. --- Bernard Lategan. --- Biblical studies. --- Democracy. --- Ekphrasis. --- Enlightenment. --- Evidence. --- Feminism. --- Footnote. --- Freedom. --- Hermeneutics. --- Higher education. --- History. --- Linda Nochlin. --- Modernity. --- Research. --- Scholarship. --- University. --- W. E. B. Du Bois. --- apartheid.

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The story of racial hierarchy in the American film industry The #OscarsSoWhite campaign, and the content of the leaked Sony emails which revealed, among many other things, that a powerful Hollywood insider didn’t believe that Denzel Washington could “open” a western genre film, provide glaring evidence that the opportunities for people of color in Hollywood are limited. In The Hollywood Jim Crow, Maryann Erigha tells the story of inequality, looking at the practices and biases that limit the production and circulation of movies directed by racial minorities. She examines over 1,300 contemporary films, specifically focusing on directors, to show the key elements at work in maintaining “the Hollywood Jim Crow.” Unlike the Jim Crow era where ideas about innate racial inferiority and superiority were the grounds for segregation, Hollywood’s version tries to use economic and cultural explanations to justify the underrepresentation and stigmatization of Black filmmakers. Erigha exposes the key elements at work in maintaining Hollywood’s racial hierarchy, namely the relationship between genre and race, the ghettoization of Black directors to black films, and how Blackness is perceived by the Hollywood producers and studios who decide what gets made and who gets to make it. Erigha questions the notion that increased representation of African Americans behind the camera is the sole answer to the racial inequality gap. Instead, she suggests focusing on the obstacles to integration for African American film directors. Hollywood movies have an expansive reach and exert tremendous power in the national and global production, distribution, and exhibition of popular culture. The Hollywood Jim Crow fully dissects the racial inequality embedded in this industry, looking at alternative ways for African Americans to find success in Hollywood and suggesting how they can band together to forge their own career paths.

Motion pictures --- African American motion picture producers and directors. --- African Americans in the motion picture industry. --- Social aspects --- History. --- African Americans. --- Black. --- Hollywood. --- Oscars. --- W. E. B. Du Bois. --- audience. --- cinema. --- collective. --- culture. --- directors. --- distribution. --- economic. --- film. --- foreign market. --- franchise. --- genre. --- ghetto. --- inequality. --- liberal. --- media. --- production budgets. --- race. --- racial bias. --- racial hierarchy. --- racial minorities. --- racialization. --- representation. --- science fiction. --- stigma. --- studios. --- unbankable. --- underrepresented. --- universal.

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Every academic discipline has an origin story complicit with white supremacy. Racial hierarchy and colonialism structured the very foundations of most disciplines' research and teaching paradigms. In the early twentieth century, the academy faced rising opposition and correction, evident in the intervention of scholars including W. E. B. Du Bois, Zora Neale Hurston, Carter G. Woodson, and others. By the mid-twentieth century, education itself became a center in the struggle for social justice. Scholars mounted insurgent efforts to discredit some of the most odious intellectual defenses of white supremacy in academia, but the disciplines and their keepers remained unwilling to interrogate many of the racist foundations of their fields, instead embracing a framework of racial colorblindness as their default position. This book challenges scholars and students to see race again. Examining the racial histories and colorblindness in fields as diverse as social psychology, the law, musicology, literary studies, sociology, and gender studies, Seeing Race Again documents the profoundly contradictory role of the academy in constructing, naturalizing, and reproducing racial hierarchy. It shows how colorblindness compromises the capacity of disciplines to effectively respond to the wide set of contemporary political, economic, and social crises marking public life today.

Racism in higher education --- Multicultural education --- Post-racialism --- Race discrimination --- United States --- Race relations. --- Race question --- Color blindness (Race relations) --- Colorblindness (Race relations) --- Post-racial society --- Postracialism --- Race blindness --- Race relations --- Education, Higher --- Sociology of minorities --- Sociology of the family. Sociology of sexuality --- 20th century. --- academic discipline. --- academy. --- carter g woodson. --- colonialism. --- education. --- gender studies. --- insurgent efforts. --- law. --- literary studies. --- musicology. --- origin story. --- racial colorblindness. --- racial hierarchy. --- racial histories. --- racist foundations. --- rising opposition. --- scholars. --- social justice. --- social psychology. --- sociology. --- teaching paradigms. --- w e b du bois. --- white supremacy. --- zora meale hurston. --- United States of America --- Race --- History --- Racism --- Legal theory --- Sociology --- Theory --- Academic sector --- Book --- Intersectionality

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It would be easy to assume that, in the eighteenth century, slavery and the culture of taste--the world of politeness, manners, and aesthetics--existed as separate and unequal domains, unrelated in the spheres of social life. But to the contrary, Slavery and the Culture of Taste demonstrates that these two areas of modernity were surprisingly entwined. Ranging across Britain, the antebellum South, and the West Indies, and examining vast archives, including portraits, period paintings, personal narratives, and diaries, Simon Gikandi illustrates how the violence and ugliness of enslavement actually shaped theories of taste, notions of beauty, and practices of high culture, and how slavery's impurity informed and haunted the rarified customs of the time. Gikandi focuses on the ways that the enslavement of Africans and the profits derived from this exploitation enabled the moment of taste in European--mainly British--life, leading to a transformation of bourgeois ideas regarding freedom and selfhood. He explores how these connections played out in the immense fortunes made in the West Indies sugar colonies, supporting the lavish lives of English barons and altering the ideals that defined middle-class subjects. Discussing how the ownership of slaves turned the American planter class into a new aristocracy, Gikandi engages with the slaves' own response to the strange interplay of modern notions of freedom and the realities of bondage, and he emphasizes the aesthetic and cultural processes developed by slaves to create spaces of freedom outside the regimen of enforced labor and truncated leisure. Through a close look at the eighteenth century's many remarkable documents and artworks, Slavery and the Culture of Taste sets forth the tensions and contradictions entangling a brutal practice and the distinctions of civility.

Slavery --- Slavery in literature. --- Abolition of slavery --- Antislavery --- Enslavement --- Mui tsai --- Ownership of slaves --- Servitude --- Slave keeping --- Slave system --- Slaveholding --- Thralldom --- Crimes against humanity --- Serfdom --- Slaveholders --- Slaves --- Slavery and slaves in literature --- Slaves in literature --- Moral and ethical aspects. --- Slavery in literature --- Moral and ethical aspects --- Esclavage --- Dans la littérature. --- Aspect moral. --- Esclavage dans la littérature --- Aspect moral --- Enslaved persons --- Enslaved persons in literature --- Africa. --- American plantocracy. --- Barack Obama. --- Britain. --- Christopher Codrington. --- James Tallmadge Jr. --- Missouri. --- W. E. B. Du Bois. --- West Indies. --- William Beckford. --- antebellum South. --- art. --- beauty. --- black difference. --- black self. --- black slaves. --- blacks. --- bondage. --- bourgeois culture. --- consumption. --- culture. --- enslavement. --- festival. --- freedom. --- identity. --- involuntary servitude. --- modern identity. --- race. --- selfhood. --- sensibility. --- slave money. --- slavery. --- slaves. --- sorrow songs. --- statehood. --- sugar colonies. --- taste. --- violence. --- black people. --- enslaved persons. --- Dans la littérature. --- Philosophy and psychology of culture --- slavery --- cultuurfilosofie

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"The Racial Railroad argues the train has been a persistent and crucial site for racial meaning-making in American culture for the past 150 years. This book examines the complex intertwining of race and railroad in literary works, films, visual media, and songs from a variety of cultural traditions in order to highlight the surprisingly central role that the railroad has played - and continues to play - in the formation and perception of racial identity and difference in the United States. Despite the fact that the train has often been an instrument of violence and exclusion, this book shows that it is also ingrained in the imaginings of racialized communities, often appearing as a sign of resistance. The significance of this book is threefold. First, it is the only book that I'm aware of that examines the train multivalently: as a technology, as a mode of transportation, as a space that blurs the line between public and private, as a form of labor, and as a sign. Second, it takes a multiracial approach to cultural narratives concerning the railroad and racial identity, which bolsters my claim about the pervasiveness of the railroad in narratives of race. It signifies across all racial groups. The meaning of that signification may be radically different depending upon the community's own history, but it nevertheless means something. Finally, The Racial Railroad reveals the importance of place in discussions of race and racism. Focusing on the experiences of racialized bodies in relation to the train - which both creates and destroys places - secures a presence for those marginalized subjects. These authors use the train to reveal how race defines the spatial logics of the nation even as their bodies are often deliberately hidden or obscured from public view"--

Race relations. --- United States. --- États-Unis --- United States --- Relations raciales. --- Representation symbolique. --- Symbolic representation. --- African American literature. --- American exceptionalism. --- Anna Julia Cooper. --- Asian American literature. --- Atchison Topeka and Santa Fe Railroad. --- Blues. --- Bong Joon-ho. --- C. Pam Zhang. --- Charles “Cow Cow Davenport”. --- Chinese American railroad worker. --- Chinese railroad worker. --- Chinese railroad workers. --- Colson Whitehead. --- Corky Lee. --- David Henry Hwang. --- Elizabeth Cotton. --- First Transcontinental Railroad. --- Frank Chin. --- Gertrude “Ma” Rainey. --- James Weldon Johnson. --- Jaque Fragua. --- Jim Crow. --- La Bestia. --- Lin-Manuel Miranda. --- Maxine Hong Kingston. --- Modernity. --- Narrative. --- Peter Ho Davies. --- Promontory Summit, Utah. --- Race. --- Railroad. --- Ralph Ellison. --- Tomás Whitmore. --- US railroad. --- W.E.B. Du Bois. --- Willa Cather. --- Zhi Lin. --- carcerality. --- champagne photograph. --- golden spike. --- landscape painting. --- manifest destiny. --- memoir. --- neoslave narrative. --- segregation. --- settler colonialism. --- sinophobia. --- slave narrative. --- speculative fiction. --- underground railroad. --- visual culture. --- “Immigrants (We Get the Job Done)”.