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Few urban critters are more reviled than the hipster. They are
notoriously difficult to define, and yet we know one when we see
one. No wonder: they were among the global cultural phenomena that
ushered in the 21st century. They have become a bulwark of
mainstream culture, cultural commodity, status, butt of all jokes
and ready-made meme. But frightening as it is to imagine, for more
than a century hipsters have been lurking among us. Defined by
their appearances and the cloud of meaning attached to them-the
cool vanguard of gentrification, the personification of capitalism
with a conscience-hipsters are all looks, and these looks are a
visual timeline to America's past and present. Underlining this
timeline is the pattern of American popular culture's
love/hate/theft relationship with Black culture. Yet the pattern of
recycling has reached a chilling point: the 21st century hipster
made all possible past fads into new trends, including and
especially the old uncool. In Decolonize Hipsters, Gregory Pierrot
gives us a field guide to the phenomenon, a symptom and vanguard of
the wave of aggressive white supremacist sentiment now oozing from
around the globe.
With the Ta-Nehisi Coates-authored Black Panther comic book series
(2016); recent films Django Unchained (2012) and The Birth of a
Nation (2016), Nate Parker's cinematic imagining of the Nat Turner
rebellion; and screen adaptations of Marvel's Luke Cage (2016) and
Black Panther (2018), violent black redeemers have rarely been so
present in mainstream Western culture. Yet the black avenger has
always been with us: the trope has fired the news and imaginations
of the United States and the larger Atlantic World for three
centuries. The black avenger channeled the fresh anxieties about
slave uprisings and racial belonging occasioned by the European
colonization project in the Americas. Even as he is portrayed as
wholly Other, a heathen and a barbarian, his values?honor, loyalty,
love?reflect his ties to the West. Yet being racially different, he
cannot belong, and his qualities in turn make him an anomaly among
black people. The black avenger is thus a liminal figure defining
racial borders. Where his body lies, lies the color line. Regularly
throughout the modern era and to this day, variations on the trope
have contributed to defining race in the Atlantic World and
thwarting the constitution of a black polity. Gregory Pierrot's The
Black Avenger in Atlantic Culture studies this cultural history,
examining a multicultural and cross-historical network of print
material including fiction, drama, poetry, news, and historical
writing as well as visual culture. It tracks the black avenger
trope from its inception in the seventeenth century to the U.S.
occupation of Haiti in 1915. Pierrot argues that this Western
archetype plays an essential role in helping exclusive, hostile
understandings of racial belonging become normalized in the
collective consciousness of Atlantic nations. His study follows
important articulations of the figure and how it has shifted based
on historical and cultural contexts.
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Free Jazz/Black Power (Paperback)
Philippe Carles, Jean-Louis Comolli; Editing managed by Gregory Pierrot
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R1,150
Discovery Miles 11 500
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Ships in 10 - 15 working days
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For the first time in English, the classic volume that developed a
radical new understanding of free jazz and African American
culture. 1971, French jazz critics Philippe Carles and Jean-Louis
Comolli cowrote Free Jazz/Black Power, a treatise on the racial and
political implications of jazz and jazz criticism. It remains a
testimony to the long ignored encounter of radical African American
music and French left-wing criticism. Carles and Comolli set out to
defend a genre vilified by jazz critics on both sides of the
Atlantic by exposing the new sound's ties to African American
culture, history, and the political struggle that was raging in the
early 1970s. The two offered a political and cultural history of
black presence in the United States to shed more light on the
dubious role played by jazz criticism in racial oppression. This
analysis critiques the critics, building a work of cultural studies
in a time and place where the practice was virtually unknown. The
authors reached radical conclusions--free jazz was a revolutionary
reaction against white domination, was the musical counterpart to
the Black Power movement, and was a music that demanded a similar
political commitment. The impact of this book is difficult to
overstate, as it made readers reconsider their response to African
American music. In some cases it changed the way musicians thought
about and played jazz. Free Jazz/ Black Power remains indispensable
to the study of the relation of American free jazz to European
audiences, critics, and artists.
The Haitian Revolution (1791-1804) was the first antislavery and
anticolonial uprising led by New World Africans to result in the
creation of an independent and slavery-free nation state. The
momentousness of this thirteen-year-long war generated thousands of
pages of writing. This anthology brings together for the first time
a transnational and multilingual selection of literature about the
revolution, from the beginnings of the conflicts that resulted in
it to the end of the nineteenth century. With over two hundred
excerpts from novels, poetry, and plays published between 1787 and
1900, and depicting a wide array of characters including, Anacaona,
Makandal, Boukman, Toussaint Louverture, Jean-Jacques Dessalines,
and Henry Christophe, this anthology provides the perfect classroom
text for exploring this fascinating revolution, its principal
actors, and the literature it inspired, while also providing a
vital resource for specialists in the field. This landmark volume
includes many celebrated authors-such as Alexandre Dumas, Victor
Hugo, Heinrich von Kleist, Alphonse de Lamartine, William
Wordsworth, Harriet Martineau, and William Edgar Easton-but the
editors also present here for the first time many less-well-known
fictions by writers from across western Europe and both North and
South America, as well as by nineteenth-century Haitian authors,
refuting a widely accepted perception that Haitian representations
of their revolution primarily emerged in the twentieth century.
Each excerpt is introduced by contextualizing commentary designed
to spark discussion about the ongoing legacy of slavery and
colonialism in the Americas. Ultimately, the publication of this
capacious body of literature that spans three continents offers
students, scholars, and the curious reader alike a unique glimpse
into the tremendous global impact the Haitian Revolution had on the
print culture of the Atlantic world.
The Haitian Revolution (1791-1804) was the first antislavery and
anticolonial uprising led by New World Africans to result in the
creation of an independent and slavery-free nation state. The
momentousness of this thirteen-year-long war generated thousands of
pages of writing. This anthology brings together for the first time
a transnational and multilingual selection of literature about the
revolution, from the beginnings of the conflicts that resulted in
it to the end of the nineteenth century. With over two hundred
excerpts from novels, poetry, and plays published between 1787 and
1900, and depicting a wide array of characters including, Anacaona,
Makandal, Boukman, Toussaint Louverture, Jean-Jacques Dessalines,
and Henry Christophe, this anthology provides the perfect classroom
text for exploring this fascinating revolution, its principal
actors, and the literature it inspired, while also providing a
vital resource for specialists in the field. This landmark volume
includes many celebrated authors-such as Alexandre Dumas, Victor
Hugo, Heinrich von Kleist, Alphonse de Lamartine, William
Wordsworth, Harriet Martineau, and William Edgar Easton-but the
editors also present here for the first time many less-well-known
fictions by writers from across western Europe and both North and
South America, as well as by nineteenth-century Haitian authors,
refuting a widely accepted perception that Haitian representations
of their revolution primarily emerged in the twentieth century.
Each excerpt is introduced by contextualizing commentary designed
to spark discussion about the ongoing legacy of slavery and
colonialism in the Americas. Ultimately, the publication of this
capacious body of literature that spans three continents offers
students, scholars, and the curious reader alike a unique glimpse
into the tremendous global impact the Haitian Revolution had on the
print culture of the Atlantic world.
As the first complete narrative in English of the Haitian
Revolution, Marcus Rainsford's An Historical Account of the Black
Empire of Hayti was highly influential in establishing
nineteenth-century world opinion of this momentous event. This new
edition is the first to appear since the original publication in
1805. Rainsford, a career officer in the British army, went to
Haiti to recruit black soldiers for the British. By publishing his
observations of the prowess of black troops, and recounting his
meetings with Toussaint Louverture, Rainsford offered eyewitness
testimonial that acknowledged the intelligence and effectiveness of
the Haitian rebels. Although not an abolitionist, Rainsford
nonetheless was supportive of the independent state of Haiti, which
he argued posed no threat to British colonial interests in the West
Indies, an extremely unusual stance at the time. Rainsford's
account made an immediate impact upon publication; it was widely
reviewed, and translated twice in its first year. Paul Youngquist's
and Gregory Pierrot's critical introduction to this new edition
provides contextual and historical details, as well as new
biographical information about Rainsford. Of particular interest is
a newly discovered miniature painting of Louverture attributed to
Rainsford, which is reproduced along with the twelve engravings
that accompanied his original account.
With the Ta-Nehisi Coates-authored Black Panther comic book series
(2016); recent films Django Unchained (2012) and The Birth of a
Nation (2016), Nate Parker's cinematic imagining of the Nat Turner
rebellion; and screen adaptations of Marvel's Luke Cage (2016) and
Black Panther (2018), violent black redeemers have rarely been so
present in mainstream Western culture. Yet the black avenger has
always been with us: the trope has fired the news and imaginations
of the United States and the larger Atlantic World for three
centuries. The black avenger channeled the fresh anxieties about
slave uprisings and racial belonging occasioned by the European
colonization project in the Americas. Even as he is portrayed as
wholly Other, a heathen and a barbarian, his values?honor, loyalty,
love?reflect his ties to the West. Yet being racially different, he
cannot belong, and his qualities in turn make him an anomaly among
black people. The black avenger is thus a liminal figure defining
racial borders. Where his body lies, lies the color line. Regularly
throughout the modern era and to this day, variations on the trope
have contributed to defining race in the Atlantic World and
thwarting the constitution of a black polity. Gregory Pierrot's The
Black Avenger in Atlantic Culture studies this cultural history,
examining a multicultural and cross-historical network of print
material including fiction, drama, poetry, news, and historical
writing as well as visual culture. It tracks the black avenger
trope from its inception in the seventeenth century to the U.S.
occupation of Haiti in 1915. Pierrot argues that this Western
archetype plays an essential role in helping exclusive, hostile
understandings of racial belonging become normalized in the
collective consciousness of Atlantic nations. His study follows
important articulations of the figure and how it has shifted based
on historical and cultural contexts.
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