Titlebook: Black Iconoclasm; Public Symbols, Raci Charles Athanasopoulos Book 2024 The Editor(s) (if applicable) and The Author(s), under exclusive li

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書目名稱Black Iconoclasm影響因子(影響力)




書目名稱Black Iconoclasm影響因子(影響力)學(xué)科排名




書目名稱Black Iconoclasm網(wǎng)絡(luò)公開度




書目名稱Black Iconoclasm網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Black Iconoclasm被引頻次




書目名稱Black Iconoclasm被引頻次學(xué)科排名




書目名稱Black Iconoclasm年度引用




書目名稱Black Iconoclasm年度引用學(xué)科排名




書目名稱Black Iconoclasm讀者反饋




書目名稱Black Iconoclasm讀者反饋學(xué)科排名

troponins

agonist

On Fanonian Slipsation is unique requiring attention to context and contingency balanced with an understanding of the imposed cultural domain of the white mask. Here, Black iconoclasm manifests as a critical practice that can be taken up within the flow of lived experience and culture.

paroxysm

允許

Prologue: Twilight of the Icons,rn Man’s social codes of race, gender, class, and sexuality. Engaging the nexus point of the Black radical tradition and contemporary iconoclasm studies, I ask: How do we discern Black radical thought and activism from the co-options of Western Man? Are we doomed to repeat a cycle of destroying a fe

ALIEN

In the Embers of Black Critique: Dismantling the Icon of Black Lives MatterM) evolution into the Black Lives Matter Global Network (BLMGN) by focusing on emerging critiques from the BLM10, Mass Action for Black Liberation (MABL), and BLM Grassroots. While many have offered wholesale rejections of BLM and/or uncritical celebrations which iconize BLMGN and its co-founders, a

transient-pain

infantile

On Fanonian Slipsemonstrating the operation of racial icons on the level of the interpersonal, political, and internal. The chapter also moves beyond Fanon by further engaging Hortense Spillers’ call for a new “psychoanalytic culture criticism” and digging into Fanon’s owns slippages in relation to his theorizing of

saphenous-vein

Iconoclastic Readings: Anti/Blackness in Post/Ferguson American Cinemag genre of post/Ferguson American cinema: . (2020), . (2021), and the two-film . (2018, 2022) universe. The inter(con)textual connections between these films highlight how they each contain residues of racial icons and Black radical excess in how they imagine Black liberation. In doing so, I show ho

insipid