Refusal Of The Shadow

Refusal of the Shadow explores the nature of the relationship between black anti-colonialist movements in the Caribbean and the most radical of the European avant-gardes, and presents a series of texts which reveal its complexity.

Contemporary Caribbean Writing and Deleuze maps a new intellectual and literary history of postcolonial Caribbean writing and thought spanning from the 1930s surrealist movement to the present, crossing the region's language blocs, and focused on the interconnected principles of creativity and commemoration. Exploring the work of René Ménil, Édouard Glissant, Wilson Harris, Derek Walcott, Antonio Benítez-Rojo, Pauline Melville, Robert Antoni and Nalo Hopkinson, this study reveals the explicit and implicit engagement with Deleuzian thought at work in contemporary Caribbean writing. Uniting for the first time two major schools of contemporary thought - postcolonialism and post-continental philosophy - this study establishes a new and innovative critical discourse for Caribbean studies and postcolonial theory beyond the oppositional dialectic of colonizer and colonized. Drawing from Deleuze's writings on Bergson, Nietzsche and Spinoza, this study interrogates the postcolonial tropes of newness, becoming, relationality and a philosophical concept of immanence that lie at the heart of a little-observed dialogue between contemporary Caribbean writers and Deleuze.

Corpses mark surrealism's path through the twentieth century, providing material evidence of the violence in modern life. Though the shifting group of poets, artists, and critics who made up the surrealist movement were witness to total war, revolutionary violence, and mass killing, it was the tawdry reality of everyday crime that fascinated them. Jonathan P. Eburne shows us how this focus reveals the relationship between aesthetics and politics in the thought and artwork of the surrealists and establishes their movement as a useful platform for addressing the contemporary problem of violence, both individual and political. In a book strikingly illustrated with surrealist artworks and their sometimes gruesome source material, Eburne addresses key individual works by both better-known surrealist writers and artists (including André Breton, Louis Aragon, Aimé Césaire, Jacques Lacan, Georges Bataille, Max Ernst, and Salvador Dalí) and lesser-known figures (such as René Crevel, Simone Breton, Leonora Carrington, Benjamin Péret, and Jules Monnerot). For Eburne "the art of crime" denotes an array of cultural production including sensationalist journalism, detective mysteries, police blotters, crime scene photos, and documents of medical and legal opinion as well as the roman noir, in particular the first crime novel of the American Chester Himes. The surrealists collected and scrutinized such materials, using them as the inspiration for the outpouring of political tracts, pamphlets, and artworks through which they sought to expose the forms of violence perpetrated in the name of the state, its courts, and respectable bourgeois values. Concluding with the surrealists' quarrel with the existentialists and their bitter condemnation of France's anticolonial wars, Surrealism and the Art of Crime establishes surrealism as a vital element in the intellectual, political, and artistic history of the twentieth century.

This volume explores the continuous line from informal and unrecorded practices all the way up to illegal and criminal practices, performed and reproduced by both individuals and organisations. The authors classify them as alternative, subversive forms of governance performed by marginal (and often invisible) peripheral actors. The volume studies how the informal and the extra-legal unfold transnationally and, in particular, how and why they have been/are being progressively criminalized and integrated into the construction of global and local dangerhoods; how the above-mentioned phenomena are embedded into a post-liberal security order; and whether they shape new states of exception and generate moral panic whose ultimate function is regulatory, disciplinary and one of crafting practices of political ordering.

This book examines post-war surrealist cinema in relation to surrealism’s change in direction towards myth and magic following World War II. Intermedial and interdisciplinary, the book unites cinema studies with art history and the study of Western esotericism, closely engaging with a wide range of primary sources, including surrealist journals, art, exhibitions, and writings. Kristoffer Noheden looks to the Danish surrealist artist Wilhelm Freddie’s forays into the experimental short film, the French poet Benjamin Péret’s contribution to the documentary film L’Invention du monde, the Argentinean-born filmmaker Nelly Kaplan’s feature films, and the Czech animator Jan Svankmajer’s work in short and feature films. The book traces a continuous engagement with myth and magic throughout these films, uncovering a previously unknown strain of occult imagery in surrealist cinema. It broadens the scope of the study of not only surrealist cinema, but of surrealism across the art forms. Surrealism, Cinema, and the Search for a New Myth will appeal to film scholars, art historians, and those interested in the impact of occultism on modern culture, film, and the arts.

Taking her cue from W. E. B. Du Bois, Juliana Spahr explores how state interests have shaped U.S. literature. What is the relationship between literature and politics? Can writing be revolutionary? Can art be autonomous or is escape from nations and nationalisms impossible? As her sobering study affirms, aesthetic resistance is easily domesticated.

"This classic work, first published in France in 1955, profoundly influenced the generation of scholars and activists at the forefront of liberation struggles in Africa, Latin America, and the Caribbean. Nearly twenty years later, when published for the first time in English, Discourse on Colonialism inspired a new generation engaged in the Civil Rights, Black Power and antiwar movements."--

ABOUT THE BOOK Controversial and provocative, The Judas Legacy examines the shadow that hides in all of us, as well as in society and organized religion. Writing from inside the church, with a keen and penetrating voice, author Sandra Rushing illuminates societys collective shadow from a Jungian perspective and reveals the truth that lies beneath the superficial, as well as exposes the hypocrisy and self-righteousness that are so prevalent in American religious and political leadership. From the biblical Judas to contemporary scapegoats, Rushing examines the influence of the shadow and describes how leaders throughout history have used a rhetoric of fear to rationalize their own policies. This is a powerful, incisive study of the dark side of truth. ABOUT THE AUTHOR After spending several decades in the oil and transportation industries, Sandra Rushing became a second-career interim ministry specialist in the Presbyterian Church, USA (PCUSA). She has worked in eight different regions of the PCUSA, and on the executive staff in two of those regions. She holds a dual degree (Summa Cum Laude, Phi Beta Kappa) in sociology and political science, and has studied the theory of C. G. Jung extensively. Her book The Magdalene Legacy was used as a resource for a documentary on the life of Christ. Filmed in Israel by a British film company, this film The Living Christ was aired for American audiences on The Learning Channel. She is also the author of a book of poetry Essence of Autumn, a memoir Dancing with a Kitchen Chair, and a liturgical resource book, Sacred Bread and Holy Wine: Communion and Liturgical Poetry.