Search Results (13)

This paper explores racialization as a historical-sociological concept and an ongoing, contemporary material praxis, using a Global Critical Race and Racism (GCRR) framework. Racialization is an ideological and material practice of colonial conquest that requires constant reification and maintenance. This paper examines how racialization and racial practices are positioned within Egyptian state tourism campaigns, through a media content and discourse analysis, as a function of contemporary national-racial identity formation. Histories of colonial archaeology, race science, and the European colonial domination and imagination of Egypt heavily contextualize this analysis. First, the paper outlines how the identity of ancient Egyptians was a racing project fundamental to white supremacy and global race and racism in the eighteenth and nineteenth centuries in ways that are intricately tied to contemporary nationalism, national identity formation, and nation-building in modern Egypt. The focus of this paper is Egypt’s agency in its national identity formation practices, wherein it acknowledges, negotiates, and markets aspects of its racialization that are economically and geopolitically advantageous, specifically within the tourism industry and in relation to Pharaonic Egypt. In this way, Egypt’s racialization is not simply externally imposed; the Egyptian state is engaging with global structures of race and racism by maintaining racial mythologies for Western imaginaries. Egypt’s contemporary national identity formation includes an engagement with its past that negotiates its position within a global hierarchy of nations across the racial-modern world system. This study explores notions of autonomy, acquiescence, and resistance under racialization by examining how nation-states engage with, resist, or leverage racialization. Full article

This paper aims to shed new light on the religious function and symbolic meaning of parasols (san 傘) in Buddhist ritual practices, tracing the origins of the concept and examining its representations in texts and art. The author focuses on manuscripts, particularly the “Liturgies for Installing Parasols” (Ansan wen 安傘文) from Dunhuang, and argues that parasols were used as special ritual instruments to guard the local community. Their sacred power stemmed from the apotheosis of the parasol’s practical function of shielding and protecting people, which was further enhanced by beliefs surrounding the “Mother of Buddhas with Great White Canopy” (Da bai sangai fomu 大白傘蓋佛母) in the late Tang and Five Dynasties. Erecting parasols or carrying them in processions around the city was considered equivalent to demarcating boundaries, establishing defenses, and creating sanctuaries. Whether worn as a protective object, placed at the city’s four gates as a symbol of safeguarding passage, or installed in processions, the Great White Canopy Dhāraṇī and the practice of installing parasols distinguished the inside from the outside, self from others, and purity from impurity. This practice not only had the power to expel plagues and disasters, but also solemnified spaces, bringing blessings, purification, health, and peace. The parasol’s practical functions were continuously extended and mythologized, becoming a central object in rituals aimed at sanctifying space. The rise of the Great White Canopy Dhāraṇī belief in Dunhuang further reinforced its role in local customs. This method of spatial sanctification reflects the internal logic of esoteric Buddhist practices while sharing conceptual and technical similarities with traditional Chinese apotropaic arts (fangshu 方術) and Daoist exorcistic rituals. Through the grand and regular performance of these ceremonies, political legitimacy and communal well-being were successfully established. Full article

This study aims to explore the issues of Islamophobia and Christian ideology prevalent in Spanish society in the 16th and early 17th centuries by examining the slave trade conducted by Barbary corsairs and the hard lives of Christian captives depicted in the literary works of Miguel de Cervantes, and to highlight his efforts to overcome the clash of civilizations between Christianity and Islam. To achieve this goal, first, the study delves into the historical context of the clash between Spain and Islam in the Mediterranean during the 16th century. Cervantes, who took part in the Battle of Lepanto in 1571, was captured by Barbary corsairs on his return from military service and spent five years as a captive in the Bagnio of Algiers. The painful experience left indelible marks on his works. This study focuses on the dual meaning of Orientalism in his works. One prevalent form of Orientalism in Spain and Europe during that period portrayed Muslims as barbaric and anti-Christian. However, Cervantes presented an alternative Orientalism to propose a pathway to co-existence, rather than conflict, between civilizations and religions. Therefore, this study explores how Cervantes, even though he himself was a victim of the clash of civilizations, sought to overcome the confrontations and conflicts in his works, rather than perpetuating the prevalent Islamophobia of his time. Full article

This paper focuses on the role of the most common mineralogical techniques applied to the identification of the different statuary qualities in white, grey, and black Göktepe marble. For this purpose, the case of a Roman sculpture marble collection from the rural villa of Valdetorres de Jarama (central Iberia), dating to the 4th century AD, is presented. The mythological statuary, combining white, grey, and black marbles, is one of the most outstanding marble collections in the Aphrodisian style found in Hispania. The analytical results (achieved through Petrography, Cathodoluminescence, C and O isotopes, and Sr and Mn concentration) support the identification of two varieties of “black” Göktepe, traditionally referred to as bigio morato and bigio antico, as well as the best statuary quality of white Göktepe. In addition, the analytical identification of other Asiatic marbles in the Valdetorres collection, a white coarse-grain originally from the quarries of Aphrodisias city, and one small piece identified as Carian red from Iasos, corroborates the already suggested strong connection existing between artists and the stone material they chose for their works. Finally, the identification carried out on the marble of the bases that served as seats for the sculptures is noteworthy, as it is a white marble of lower quality whose analytical characteristics are consistent with the Microasiatic marble of Denizli. The use of these exotic and exceptional raw materials confirms the taste for luxury and decorative richness in Late Antique Hispanic rural villae and contributes to a better understanding of the distribution of Aphrodisian production and trade networks with the Western Roman provinces. Full article

In February 2016, co-hosts Jack Shepherd and Tanner Greenring launched their comedy podcast The Baby-Sitters Club Club. The “joke” at the center of the podcast was, of course, that two adult, cishet, white men were exhaustively recapping and dissecting a book series from the 1980s and 1990s that was predominantly popular with adolescent girls. What began as a podcast designed to poke fun at the co-hosts’ serious “fannish” analysis of a nostalgic series of novels for girls, evolved into an elaborate string of “fan” theories, literary close readings, and (inter)textual expansion. Building on Paul Booth’s discussion of hyperfans, this article theorizes the absurdist worldbuilding, mythology and character development, and intertextual play performed by the hosts of TBSCC as a form of hyperfanfiction. Full article

When approached through the theoretical lenses of canonical literature and the reductionist Western science of settler colonialism, climate crisis discourse grapples with a conception of apocalypse wherein catastrophe and hopelessness engender eco-anxiety and a sense of environmental nihilism. Drawing from the works of Jessica Hernandez, Sherri Mitchell, Robin Wall Kimmerer, and others, “What Would the Mushrooms Say?”, both as a class and concept, envisions a healing-centered, interdisciplinary approach to climate discourse in learning spaces, one that centers the theoretical and practical applications of an Indigenous science and mythology to flip the dominant narratives we tell about the dystopic dead ends of climate change, extinctions, anthropocentric hierarchies, and other events predictive of end times. Instead of only reckoning with white settler colonialism’s false promises of technocratic off-planet societies, students interact with a multiplicity of apocalypses and possibilities found in Indigenous cosmologies, mythologies, epistemologies, and speculative fiction of Indigenous, Indigequeer, queer writers of color, and the natural world. Posited as an exemplar text, Amanda Strong’s animated short film Biidaaban is discussed in terms of its instructional potential and depiction of Indigenous ways of relating, as kin, to human and nonhuman alike when speculating about futurity. “What Would the Mushrooms Say?” calls for slowing down and embracing the natural world as a teacher from whom we learn and speculate alongside. It suggests as a lifelong practice ways of relating to our planet and engaging with the climate discourse that interrupt a legacy of white settler colonialist eco-theorizing and action determined to dominate and subdue the natural world. In conclusion, this project documents the emergence of students’ shifting perspectives and their explorations of newfound possibilities within learning spaces where constructive hope rather than despair dominates climate discourse. Full article

Marvel’s 2021 film Eternals presents a new mythology for a new century, for an audience grappling with the complexity of postcolonialism and concerned about resurging white nationalism. Its mythology, while rooted in Western narratives, presents a utopia in the form of a multicultural pantheon, presented by a carefully selected, diverse class. While Marvel undoubtedly has commercial concerns, its careful construction of this new mythology and the considered adaptation process show a moral vision for the future. Importantly, this vision presents a direct contrast to the resurgence of the appropriation of classical mythology as justification for white supremacy. Marvel’s Eternals therefore can be seen as utopian: it offers the perfection of moral predictability, of good triumphing over evil. However, it simultaneously undercuts its story by couching it in the genre of a comic book superhero fantasy adventure–the reality Eternals offers, even fictionally, is beyond ordinary, mortal humans. Full article

The poet Hugh MacDiarmid (1892–1978) was the major driving force behind the twentieth-century Scottish literary renaissance and was also a passionate Scottish nationalist. His poem ‘On a Raised Beach’ (1934) has been understood in theological and philosophical terms as a metaphysical exploration, albeit one grounded in an immediate experience of nature that took place on Shetland. In this paper, MacDiarmid’s epic is placed in the context of the present environmental crisis and the ongoing consequences of the COVID-19 pandemic. ‘On a Raised Beach’ can now be re-located within the hermeneutical tradition of ‘Geopoetics’, a Scottish genre that is articulated and asserted by the poet Kenneth White (1938–). Whilst, however, White draws upon the highly contested and polyvalent concept of ‘shamanism’ in elaborating his standpoint, we shall argue that it is also appropriate to look for affinities between this dynamic poem and the ethos and mysticism of ‘deep ecology’, a perspective that invokes the equally contested mythology of ‘Gaia’. Full article

This archaeometric study is focused on the marble used in a group of fragmented sculptures found at the Roman villa of Quinta das Longas (Elvas, Portugal). Dating from the 4th century AD, the pieces are of remarkable quality and correspond to ideal and mythological figures from several iconographic cycles. The numerous fragments, all of very fine-grained white marble, are associated with the ornamentation of an impressive nymphaeum of the villa. Their high level of sculpture technique and style, the models followed and their similar typology to other well-known parallels raise the hypothesis of being linked with Aphrodisian workshops. Using a well-established multi-method approach, with Optical microscopy, X-ray Powder Diffraction (XRPD), qualitative and quantitative cathodoluminescence (CL) by CL-Optical and CL-SEM, and stable C and O isotopic and trace element analytical techniques (IRMS and ICP-AES), together with complementary parameters obtained from electron paramagnetic resonance (EPR) and ⁸⁷Sr/⁸⁶Sr isotopes, the marble provenance can be identified with certainty. The results all point to the best quality of white Göktepe marble, confirming the stylistic connection to the ancient Carian sculptors. Full article

In 1989, I began collecting and populating my university campus office with items reflecting what I knew—from my research, teaching, and lived experience as a Black American—was racist Americana. These items have supplemented my teaching of African American literature and culture for over thirty years, invigorating discussions and breathing life into the texts we study. My collection challenges one of the most esteemed aspects of our profession—alphabet literacy through reading, writing, and books. Embodying past and present, these artifacts are as powerful as books. As my personal traveling library, they go into human spaces in ways books cannot, allowing and inviting viewers’ sensory experiences. Every piece is a story and elicits a range of personal stories, documenting intersectional perspectives on race, gender, sexuality, class, ability, religion, and body size. An exercise in cultural literacy, this collection disrupts mythologies created to restrict and delegitimize the lives of Black people. Challenging my university campus office visitors to confront the reality of me—a Black male faculty member at a predominantly white institution—my collection invites open conversation about race on my terms. My “colored museum” invites all who experience it to reflect on how we experience community building and new meaning making. Full article

This article examines the emergence of the Black Theology movement in the late 1960s and early 1970s in the context of the religiously diverse milieu of Black political movements during the same period. In particular, the theology of the Nation of Islam was widely understood by contemporary commentators as a major source of the confrontational rhetoric and tactics of the Black Power movement. Drawing upon the writings of the radical Black nationalist minister Albert B. Cleage, Jr., this article examines the importance of what Cleage termed the Nation of Islam’s “Black cultural mythology” in providing the possibility of a break in identification with white Christianity. In particular, it traces the influence of the Nation of Islam’s proclamation of God’s imminent apocalyptic destruction of white America on the theology of James H. Cone and Cleage. In doing so, this article argues for the importance of examining questions of racial and religious difference in American history alongside one another. It was precisely through creative appropriation of a non-Christian framework of biblical interpretation, rooted in faith in God’s complete identification with Black humanity and the consequent imminent judgment of white America, that early (Christian) Black Theologians were able to retain their Christian identity and sever its entanglement with white supremacy. Full article

This essay treats two innovative site-specific sequences produced by women in the first decade of the twenty first century. Both are explicitly interested in the relationship between geometry, writing (as material and political practice) and geo-cultural space, a relationship each finds inflected to some extent by gender emphases. Starting from the premise that any piece of writing is itself a place, the essay considers the self-conscious textualities of its primary texts—one concerned with Exmoor; the other with a sheep-farm in rural mid-Wales—in the light of their different, if similarly rural and relatively remote, contexts. Presley’s ‘Stone Settings’ explores the relationship between some of the quasi-geometrical Neolithic stone arrangements dotted across Exmoor, and the mediation of their apparently Euclidean sometimes barely visible forms in/as text. Watts’ work-in-progress Zeta Landscape mobilises in the ‘analytical’ or ‘projective’ (ie non-Euclidean) geometry of its title the complex weave of routine care-giving and accountancy charging the contemporary (Michel Foucault’s ‘distributive’) pastoral. Both sequences wryly suggest that poetic form can finally no more adequately figure place than the abstractions of mathematical discourse can utter the cultural ecology of any environment, however concrete-seeming. Aided by Jacques Derrida’s powerful essay ‘White Mythology’, the account comes to rest on the equally equivocal recognition of the in/effectuality of metaphor in any kind of address, critical or creative. Full article

Bill Willingham’s Fables comic book series and its spin-offs have spanned fourteen years and reinforce that fairy-tale characters are culturally meaningful, adaptable, subversive, and pervasive. Willingham uses fairy-tale pastiche and syncreticism based on the ethos of comic book crossovers in his redeployment of previous approaches to fairy-tale characters. Fables characters are richer for every perspective that Willingham deploys, from the Brothers Grimm to Disneyesque aesthetics and more erotic, violent, and horrific incarnations. Willingham’s approach to these fairy-tale narratives is synthetic, idiosyncratic, and libertarian. This tension between Willingham’s subordination of fairy-tale characters to his overarching libertarian ideological narrative and the traditional folkloric identities drives the storytelling momentum of the Fables universe. Willingham’s portrayal of Bigby (the Big Bad Wolf turned private eye), Snow White (“Fairest of Them All”, Director of Operations of Fabletown, and avenger against pedophilic dwarves), Rose Red (Snow’s divergent, wild, and jealous sister), and Jack (narcissistic trickster) challenges contemporary assumptions about gender, heroism, narrative genres, and the very conception of a fairy tale. Emerging from negotiations with tradition and innovation are fairy-tale characters who defy constraints of folk and storybook narrative, mythology, and metafiction. Full article