Freedom within bars: maximum security prisoners’ negotiations of identity through rap

This paper examines the construction of prisoners’ identity through rap in England’s high security prisons. While hip hop studies has often addressed rap’s connection to the social practices of criminalized youths, prison rap cultures have received scant attention. This paper draws on a series of rap workshops and interviews with prisoners to investigate the experiences of black prisoners in high security prisons and how identities are produced and negotiated through rap. Rap is associated with the production of a range of identities and identifications, enabling prisoners to accommodate themselves to the conditions of their incarceration and to challenge aspects of the criminal justice system that they experience as unfair or illegitimate.     

Signifyin' Cinema: Rudy Ray Moore and the Quality of Badness

This article engages the limits of both film and race studies in their approach to heterogeneous and “low” forms of African American cultural production through an analysis of the films of Rudy Ray Moore. While Moore’s films have been almost entirely overlooked in both film studies and black studies, they were extremely popular among black youth of the 1970s and have exerted a powerful influence on today’s hardcore hip hop artists (and their understanding of how to turn black market entrepreneurship into global enterprise). The theory of “signifying”, advanced most rigorously by black literary theorist Henry Louis Gates Jr, helps explain how and why Moore has slipped through various critical nets — and grounds a claim for why we should take “bad” black film seriously. Close film and context analysis illustrates how Moore’s low‐budget films “signify” on Hollywood and the system of expectancies that go with putatively “good” filmmaking and reveals the extent to which they constitute a hybrid cultural and multimedia practice. As vehicles designed to elaborate on the badman of black folklore, Moore’s films contribute to the long history and rich language of “toasting” in African American oral culture and music. As such, far from being emblematic of black filmmaking’s impoverished relationship to mainstream cinema (as a cinema manqué), these films constitute vital precursors to the hip hop music video.     

Perceptions of Misogyny in Hip Hop and Rap: What Do the Youths Think?

This article presents the results of an exploratory study conducted at a community forum sponsored by a prominent African American church and a historically Black university. These institutions are concerned with negative messages given to African American females about their appearance and their morals. The data presented describe the population of female (68.6%) and male (31.4%) participants ages 18 to 24 and inform us about their perceptions about hip hop and rap music, especially as they relate to misogyny. This study found that listening habits and age were significant in understanding youths' views about misogyny.     

The First (and Only) Year of the May 3 Constitution

Isaak Babel’ is the author of two stories, “Iisusov grekh” [The Sin of Jesus], 1921, and “Pan Apolek,” 1923, that are written in the tradition of menippean satire. These stories are filled with the kind of blasphemy, profanation, and desacrilization Mikhail Bakhtin describes as salient characteristics of menippean satire. “Sin” is a graphic example of the menippean sub-genre of “fantasticheskii rasskaz” [the fantastic tale], and “Apolek” has clear affinities with the ancient genre of “Cyprian’s Supper.”

“Sin” and “Apolek” highlight prominent menippean features that pervade Babel’’s fiction. His Odessa stories are filled with carnivalistic, scandalous, and grotesque motifs that are very much in the menippean spirit. Babel’’s contribution to the menippea is his creation of a multiplicity of different, even conflicting plausible texts within the body of a single story. For Babel’, heretic and blasphemer, menippean satire is the perfect vehicle for expressing his contradictory relationship with the culture he lived in.     

Racial Authenticity in Rap Music and Hip Hop

This article reviews the history of scholarship on racial authenticity within studies of rap music and hip hop. The concept of authenticity currently enjoys a central place in sociological work on popular music, subcultures, and racial identity. As a music and cultural form that straddles all three of these fields, the debates surrounding authenticity within rap and hip hop are as contentious as any. Using the year 2000 as an arbitrary dividing line, this article presents the late 20th century foundations of research on authenticity and race within hip hop, then moves on to discuss more recent developments in the academic literature. Despite hip hop scholars’ increased emphases on discourses of space and place, and processes of culture and identity formation, the field continues to be framed through notions of essential blackness, and critical interrogations of white hip hop legitimacy. After providing an overview of the state of the field, it is argued that greater attention to language use among hip hop enthusiasts, and a particular emphasis on hip hoppers who fall outside the black–white racial binary will prove fruitful in reinvigorating these longstanding debates. Ethnographic studies of local underground hip hop scenes within the Unites States are recommended as a logical place to begin.     

GLOBAL BLACK SELF-FASHIONINGS: HIP HOP AS DIASPORIC SPACE

This essay examines how the “black” racial significance of hip hop culture is received, interpreted, and redeployed within the Afro-Atlantic world. Beyond questions of cultural consumption and reproduction, it is argued that hip hop's expanding global reach has facilitated the contemporary making and moving of black diasporic subjects themselves. Here, African descendant youth in an array of locales use the performative contours of hip hop to mobilize notions of black-self in ways that are at one time both contestive and transcendent of nationally bound racial framings. Hip hop in this way can be seen as enabling a current global (re)mapping of black political imaginaries via social dynamics of diaspora. In pursuing this argument, this essay looks toward hip hop movements in Brazil, Cuba, and South Africa as compelling, yet varying examples of how transnationally attuned identities of blackness are marshaled in the fashioning of diasporic subjects through hip hop.     

Rappin' on the Tyne: White Hip Hop Culture in Northeast England – an Ethnographic Study

This article offers an ethnographic account of the significance of rap music and hip hop culture for white youth in the city of Newcastle upon Tyne in north-east England. Although white appropriations of black music in Britain have been well documented in sociological work, there is currently very little research on white responses to rap and hip hop. During the course of this article I identify two distinct responses on the part of white Newcastle youth to rap and hip hop. I then go on to argue that, despite their differing nature, each of these responses can be seen as bound up with issues of locality and local experience.     

The “Replacement Child”: On Adoption,Haunting, and the Unlived Life

What does it mean to live in the shadow of an older sibling’s unlived life? This study draws on notions of haunting, guilt, fantasy, and envy to explore the experience of the “replacement child.” Art Spiegelman’s (1986) Maus tells the story of what it was like to occupy the place of his older brother, who died during the Holocaust. This is intertwined with my own account of adoption and replacement. The dead sibling is perceived as a ghostly presence, shaping the possibilities of who and what the “replacement child” will become.     

Tragic Narratives in Popular Culture: Depictions of Homicide in Rap Music1

Homicide is a rare event, but depictions of it are quite common in our culture and discourse. Commercially successful rappers have appropriated homicide as a central theme in their lyrical compositions. The tremendous success of rap music is indicative of its increasing popular appeal and cultural impact. We reveal the ways homicide is constructed within rap music and its frequency of occurrence across time. Employing a cultural criminology framework, we analyze the most popular rap songs over the period 1989–2000, as determined by Billboard music charts, for references to homicide. Using content analysis we explore the emergent themes associated with homicide scenarios in rap lyrics. Results show violent death was constructed in glorified ways, incorporated cautionary tales, or used as an analogy for powerful rhyming. The major themes found in these homicide‐related rap lyrics were the normalization of killing, respect maintenance, confrontation with the power structure, vengeance, and masculine confrontation. Gender patterns of killing were surprising and distinct. Homicide was almost always male on male. Careful consideration is given to the multiple meanings of homicide, particularly the ways rappers have appropriated the word “killing” and transformed it into a term that indicates creative success.     

The end(s) of immanence in the anthropocene: militarized ecologies and the future of Deleuzian thought

Two features bear down fundamentally on our current historical occasion: structures of security, and breakdowns of planetary ecosystems. This essay argues that Deleuze is not only tracing a “geophilosophy” (that is, a nonhuman-centered theory of history that includes a geohistory of the planet) that moves from nomadic through State and finally through neoliberal forms that extend beyond the power of the State, but that he is also moving toward a theory of “control” that can teach us a great deal about the rise of the security society and its relation to the anthropocene. More specifically, this essay argues that philosophy is at a moment when the stakes of Deleuze’s conceptualizations of “immanence” have changed. This change hinges on the ecological circumstances of the twenty-first century – a set of conditions considerably underway, involving a course unlikely to change in time to reverse the seriousness of the situation (due in part to the supremacy of a self-destructive international neoliberal politics). The essay concludes by more sharply defining the workings of security in relation to immanence in the anthropocene.     

Racism without Races: Reflections on Racialization and Racial Projects

‘The metaphor of race is a dangerous weapon whether it is used for asserting white supremacy or for making demands on behalf of the disadvantaged groups...Treating caste as a form of race is politically mischievous; what is worse, it is scientifically nonsensical’. Andre Beteille (2004: 52) ‘…what is in fact “scientifically nonsensical” is Professor Beteille’s misunderstanding of “race”. What is mischievous is his insistence that India’s system of ascribed system of social inequality should be exempted from the provisions of a UN Convention whose sole purpose is the extension of human rights to include freedom from all forms of discrimination and intolerance – and to which India, along with most other nations, has committed itself” Gerald Berreman (cited in Thorat and Umakant 2004: xxv ) ‘The possibility that the current Indian Hindu-Muslim or upper versus lower-caste conflict may be, in a significant sense, a variant of a modern problem of “ethnicity” or “race” is seldom entertained…”racism” is thought of as something the white people do to us. What Indians do to one another are variously described as “communalism”, “regionalism” and “casteism” but never “racism”’. Dipesh Chakrabarty (1994: 145)     

Margaret Atwood’s Straddling Environmentalism

Abstract

“Margaret Atwood’s Straddling Environmentalism” asks why Atwood crosses the Canada-US border in her dystopian fiction. It takes Atwood’s 2004 comments that The Handmaid’s Tale (1985) partly grew out of her ‘irritation when people say “it can’t happen here”’ and her claim that she decided to set the novel in Cambridge, Massachusetts as being related to that irritation—’”It can’t happen here,” she explained, “should be placed in the most extreme ‘here”’—as a prompt. Focusing on Oryx and Crake (2003), this article argues that one of Atwood’s motivations for crossing the Canada-US border in this novel is to provoke us to develop what Giovanna Di Chiro has termed ‘a scale-crossing environmental consciousness.’ Oryx and Crake challenges us to think about environmentalism in relation to local, embodied experiences as well as on a global, transnational scale.     

Olympic Films and Public Memory

How is our memory of mega‐events structured? This article investigates the relationship between cinema and the Olympic Games. To this end, it first unravels the historical origins of the strong link between the two, as both are symbolic products of the 20th century. The Olympics reaffirm the image of the modern nation‐state; the cinematic medium visually represents the Games as spectacle. Leni Riefenstahl's film, Olympia (1938), recorded at the 1936 Berlin Olympic Games, supplies the most enduring imagery of this type. In addition to Riefenstahl's thoughts and methods, this study delves into Kon Ichikawa's Tokyo Olympiad (1965), which was influenced by Olympia. Ichikawa's film, which reflects his artistry and showcases his various skills, won critical acclaim and, intriguingly, precipitated the “document or art” controversy that involved the Japanese state and the mass media. Whether document or work of art, this film has supplied the public with imagery for the 1964 Tokyo Olympic Games—various images that most of us recognize—and thereby played a key role in constituting our memory of them. Therefore, our experience of the Games is a mediated experience through the construction of our public memory. Our memory culture is composed of “prosthetic memories” that are technologically assembled through cinema and act as Freudian “screen memories.”     

From Maidens to Mugs: The Motif of the Mirror in the Works of Nikolai Gogol'

From Plato’s times to our contemporary age, theorists have spoken of art as being a mirror of life and sometimes argued against the notion. In his nonfiction essays on art and literature, Gogol' was also fond of the metaphor. Due to the frequency with which mirrors appear in his work, Gogol'’s oeuvre offers a unique opportunity for study of how the idiom of art-as-mirror transforms in the move from theoretical reflections to his fictional stories. Appealing to Meyer Abrams’s claim that the mirror has become a “constitutive” metaphor, this article assumes that: a) the potential problems the metaphor introduces are fair game in general theorizing, and b) the questions introduced into the texts by Gogol'’s fictional mirrors may also point toward problematic issues in his thought on art and development as an artist. The article surveys Gogol'’s use of mirrors in his fiction and relates them to their theoretical counterparts. Clear patterns emerge that parallel the geographical and meta-literary subject matter of his work. Ultimately, the article reveals how Gogol'’s evolving treatment of the mirror metaphor may offer insight into the sources of the author’s “creative decline.”     

Questioning the Phallus: Jacques Lacan and Judith Butler

ABSTRACT

This article engages with the relationship between Lacanian psychoanalytic theory and poststructuralist gender theory by comparing and contrasting the questioning of the symbolic phallus (function) undertaken by Jacques Lacan and Judith Butler. The debate takes place through Lacan’s 1958 paper “The Signification of the Phallus,” to which Butler responded critically in Gender Trouble and Bodies That Matter, published in 1990 and 1993, respectively. Lacan explains that the symbolic phallic function is the “anchor”’ from and around which the symbolic works and ties the discussion to the question of sexual difference by explaining that men and women are positioned differently in relation to it. Butler charges that Lacan’s schema is heteronormative—because it is limited to the male/female schema—and patriarchal because within that heteronormative framework it affirms the masculine perspective. Rather than follow the usual route taken by recent Lacanian scholarship on this issue and focus on Lacan’s later works, especially Seminar XX on female sexuality, I appeal to the contents of two works written in the same year (1958) as “The Signification of the Phallus”—Seminar V and “Guiding Remarks for a Convention on Female Sexuality”—to offer a qualified defense of Lacan that accepts that his early framework is heteronormative but questions the patriarchal charge by showing that within these pre-Seminar XX texts he explicitly works to undermine that logic.     

The Lovers of Venice: Musset’s Works and Life in Kuzmin’s A New Rolla

The title of Mikhail Kuzmin’s Novyi Rolla [A New Rolla] has been considered cryptic despite its evident allusion to Alfred de Musset’s “Rolla,” a poem with which it shares little. In this article I argue that the link to Musset is clear if we read A New Rolla as responding not just to “Rolla,” but also to Musset’s novel La Confession d’un enfant du siècle [The Confession of a Child of the Age] and his biography. From this composite source Kuzmin takes up the themes of a debauchee finding love, love as serial yet serious, and a love triangle in Venice, as well as an apostrophe to the kiss. Kuzmin endorses most of Musset’s idea of love, but rejects the egalitarian ideal implicit in the sympathetic treatment of the prostitute Marion in “Rolla.” A secondary allusion to Nikolai Nekrasov’s “Kogda iz mraka zabluzhden’ia” [When, out of the darkness of error] reinforces Kuzmin’s rejection of the egalitarian ideal of sexual love. The allusions to Musset and Nekrasov amount to anachronisms that partially undermine the precise temporal setting of A New Rolla. Kuzmin’s work thereby occupies an intermediate position among his period pieces, as it is neither openly playful like Venetsianskie bezumtsy [Venetian Madcaps] nor constructed with its seams hidden like the Aleksandriiskie pesni [Alexandrian Songs].     

Divine economy and repentance in Discourse 4 of The Enlightener by Iosif Volotskii

The article examines the relatively neglected Discourse 4 of The Enlightener, Iosif Volotskii’s famous treatise written to defend Orthodoxy against religious dissidents known to history as the “Judaizing” heretics. In Discourse 4, Iosif deals with the divine economy, the possibility of repentance, and with God’s deviousness in achieving his purposes. In contrast to the other discourses of The Enlightener, here in Discourse 4 Iosif argues his case in a relatively non-polemical manner. The text has some significance for evaluating his work as a father confessor, and for his well-known severity towards heretics and apostates.     

“The Last Refuge of the Scoundrel”: Debating between History and Theory

When “History” is called to represent silence, its metaphysical position is symptomatically felt. Tracing what Fasolt calls “the historian's revolt”, this paper identifies the political impetus behind it as the symptom dictating Foucault's own silences/silencings (regarding Derrida's intervention in his History of Madness). In naming such a symptom/silence – in taking “Derrida's position” – this paper performs its own violence/decision by, both “justifying,” and betraying, this position; by installing itself in, instead of “above,” this curious “debate”. “The last refuge of the scoundrel” appears then as the reflective exteriority of a political antagonism that's based on a metaphysical difference with regards to the legitimate “seat” of authority (in Fasolt, an antagonism between the historian and the Catholic Church). Finally, this trajectory is installed within a wider – metaphysical and historical – context, where Hegel's famous saying, that the University is the Protestant's Church, might yet echo that distant metaphysical decision – still looming, like a “genealogical specter,” over Academia and its Social Sciences.     

Looking forward,looking back: animating magic,modernity and the African city-future in Nnedi Okorafor’s Lagoon

Lagos has recently become the focus of much scholarly interest, with a strong emphasis placed on the city as crucible of global innovation. Rem Koolhaas, in his well-known formulation of Lagos has, for example, memorably theorised the city as an African megalopolis “at the forefront of globalising modernity.” Contemporary African artists have similarly begun, in recent years, to place Africa at the vanguard of planetary discourse, producing a new wave of cultural output that signals the continent as a site from which to imagine the emergence of future worlds. Salient to this growing body of work are the writings of Nigerian-American author Nnedi Okorafor, who writes in the register of “African science fiction.” This article takes Lagos as its focus by considering its futuristic representation in Okorafor’s novel Lagoon (2014). Drawing on John and Jean Comaroff’s theories of the city “as future lab to be learned from,” I suggest that it is from Okorafor’s account of Lagos, infused with a series of connections between magic and modern, city and sea, global and local, human and nonhuman, that the novel imagines the potential birthing of a new world order. Given the vital presence of nonhuman interlocutors in Okorafor’s text, this article concludes by arguing that Lagoon merits consideration within the growing field of Anthropocenic studies.     

The impossibility of loving: blanchot,community, sexual difference

This paper aims to clarify Blanchot's notion of community and his practice of communism through, first, an account of his involvement in the Events of May 1968 and, second, an exploration of The Unavowable Community, in which Blanchot reads a short novel by Marguerite Duras, which recounts the tropisms of a brief relationship between a young woman and a homosexual man. As I show, Blanchot's affirmation of what he calls “the impossibility of loving”, which emerges from his reading of Duras, is linked to what he calls “worklessness [désoeuvrement]”; that is, the active process of loosening or undoing that contests any attempt to establish a community around a shared essence. I will claim that it is by attending to the relationship to worklessness that one might attend to what Blanchot calls the “spaces of freedom” that open around us: to those happenings which are not enclosed by prevailing determinations of the social space. A further aim of this paper is to address the concerns of Jacques Derrida, for whom Blanchot's writings on community betray what he calls in Politics of Friendship a “schematic of filiation”, in which the relation to the brother is the privileged model for the relation to the Other. I also provide an account of Blanchot's negotiation of Levinas's account of the relationship between ethics and eros as it is presented in Totality and Infinity.