Dave Boothroyd

6 Hallucinating Sartre To ask oneself whether the world is real is to fail to understand what one is asking, since the world is not a sum of things which might always be called into question, but the inexhaustible reservoir from which things are drawn. (Merleau-Ponty, 1965: 344) Philosophy and/or intoxication The intellectual endeavour of theoretical reflection seems obviously antithetical to intoxications of all kinds. Sobriety and being in control of one’s own thought are naturally bound to one another, whereas intoxications, such as drunkenness, reverie

in Culture on drugs
Azzedine Haddour

1 The significance of Sartre in Fanon Introduction The influence of Being and Nothingness, Anti-Semite and Jew and Black Orpheus is perceptible in the work of Fanon, and the ethical dimension of existential phenomenology is fundamental to his anticolonial project. In Existentialism Is a Humanism, Sartre writes: ‘my intimate discovery of myself is at the same time the revelation of the other as a freedom that confronts my own and that cannot think or will without doing so either for or against me. We are thus immediately thrust into a world that we may call

in Frantz Fanon, postcolonialism and the ethics of difference
Black Power and the transformation of the Caribbean Artists Movement
Rob Waters

zombie, a being removed from the life it observes, formed an indirect reference to Jean-Paul Sartre’s preface to Frantz Fanon’s The Wretched of the Earth , a text which Swanzy alluded to in his following speech. 5 Invoking the zombie, Sartre had described the movement of the white European, in the period of decolonisation, from centre to periphery, and from actor to acted upon

in Cultures of decolonisation
New interdisciplinary essays
Editor: Max Silverman

Frantz Fanon's Peau noire, masques blancs (Black Skin, White Masks) was published by the Paris-based publishing house Editions du Seuil in 1952 when Fanon was twenty-seven. This book first develops the theme of the francophone contextualisation of Peau noire by concentrating on the specifically Martinican references in the text which have either been effaced or distorted in subsequent representations of Fanon. By retrieving the specific cultural and historical significance attached to particular linguistic items in the text, the book reveals the unconscious traces of a history which Fanon consciously wants to expunge. It is precisely the question of expunging the past. The book argues that Fanon's desire for a violent rupture with the past and a new beginning rules out the possibility of a Creole conception of Caribbean history and culture associated today with the writers. The book also situates Peau noire in the context of racism in metropolitan France and explores different aspects of Fanon's engagement with Sartre in Peau noire. It focuses specifically on the relationship between anti-Semitism and anti-Black racism, and discusses Fanon's engagement with another of Sartre's texts, 'Orphée noir'. The book further discusses Fanon's engagement with Sartre and the tension between universalism and particularism. Finally, it concentrates on studies of the psychic, existential and political dimensions of racial ideology in Peau noire.

Fanon, postcolonialism and the ethics of difference raises a host of crucial questions regarding the relevance of Fanon today: in today’s world, where violence and terror have gone global, what conclusions might we draw from Fanon’s work? Should we keep on blaming Fanon for the colonial violence, which he internalized and struggled against, and overlook the fact that the very Manichaeism that previously governed the economy of colonial societies is now generating violence and terror on a global scale? Has the new humanism which he inaugurates in the concluding section of The Wretched of the Earth turned out to be nothing but a vain plea? What grounds for optimism does he allow us, if any? What is to be salvaged from his ethics and politics in this age of globalization?

Fanon, postcolonialism and the ethics of difference offers a new reading of Fanon’s work, challenging many of the reconstructions of Fanon in critical and postcolonial theory and in cultural studies and probing a host of crucial issues: the intersectionality of gender and colonial politics; the biopolitics of colonialism; Marxism and decolonization; tradition, translation and humanism. Fanon, postcolonialism and the ethics of difference underscores the ethical dimension of Fanon’s work by focusing on his project of decolonization and humanism.

Open Access (free)
Trying to understand Beckett
Editor: Daniela Caselli

Nothing' has been at the centre of Samuel Beckett's reception and scholarship from its inception. This book explains how the Beckett oeuvre, through its paradoxical fidelity to nothing, produces critical approaches which aspire to putting an end to interpretation: in this instance, the issues of authority, intertextuality and context, which this book tackles via 'nothing'. By retracing the history of Beckett studies through 'nothing', it theorises a future for the study of Beckett's legacies and is interested in the constant problem of value in the oeuvre. Through the relation between Beckett and nothing, the relation between voice and stone in Jean-Paul Sartre and Beckett, we are reminded precisely of the importance of the history of an idea, even the ideas of context, influence, and history. The book looks at something that has remained a 'nothing' within the Beckett canon so far: his doodles as they appear in the Human Wishes manuscript. It also looks at the material history of televisual production and places the aesthetic concerns of Beckett's television plays. The book then discusses the nexus between nothing and silence in order to analyse the specific relations between music, sound, and hearing. It talks about the history of materiality through that of neurology and brings the two into a dialogue sustained by Beckett texts, letters and notebooks. The book investigates the role of nothing through three works called neither and Neither: Beckett's short text, Morton Feldman's opera, and Doris Salcedo's sculptural installation.

Fanon’s response to Sartre
Robert Bernasconi

100 Frantz Fanon’s Black Skin, White Masks 5 The European knows and does not know: Fanon’s response to Sartre ROBERT BERNASCONI Jean-Paul Sartre’s ‘Orphée noir’, his introduction to Leopold Sédar Senghor’s Anthologie de la nouvelle poésie nègre et malgache de langue française, explicitly raises the question of how Whites should respond to the poems included there (Sartre 1948: ix; Sartre 2001: 115). He concedes that a white man can hardly speak suitably of Negritude (Sartre 1948: xxix; Sartre 2001: 129), and yet he offers to explain to Whites what Blacks

in Frantz Fanon’s 'Black Skin, White Masks
Max Silverman

112 Frantz Fanon’s Black Skin, White Masks 6 Reflections on the human question MAX SILVERMAN J’appartiens irréductiblement à mon époque (I belong irreducibly to my time) (Peau noire: 10; Black Skin: 15) Sameness and difference: Fanon, Antelme, Lévi-Strauss Peau noire, masques blancs was published only seven years after the end of the Second World War. There is no mention of the war in the text. Neither is there any mention of the Holocaust, even though Fanon discusses the situation of the Jew via his engagement with Sartre’s Réflexions sur la question juive

in Frantz Fanon’s 'Black Skin, White Masks
Bryan Cheyette

colonialism, but the unassimilated Jewish majority. As Gillian Rose has shown, Jews within French post-structuralism are invariably essentialised as the ineffable alterity within western metaphysics (Rose 1993: 14– 24). Rather than reading Algerian Jews back in relation to these contemporary formulations, Fanon helps us to understand postwar Jewry in relation to the colonial struggle in less abstract and more historically grounded terms. To this end, I will read Frantz Fanon’s Peau noire alongside Jean-Paul Sartre’s Réflexions sur la question juive (1946) which had a

in Frantz Fanon’s 'Black Skin, White Masks
Abstract only
Max Silverman

, Fanon highlighted the ‘inter-relatedness’ of the metropolitan centre and colonial periphery and allowed for a more complex understanding of levels of racial exclusion. The next three chapters explore different aspects of Fanon’s engagement with Sartre in Peau noire. In Chapter 4 Bryan Cheyette focuses specifically on the relationship between anti-Semitism and anti-Black racism. He argues that Fanon’s discussion of Sartre’s Réflexions sur la question juive (Anti-Semite and Jew, 1946) establishes a fascinating dialogue in Peau noire between the discourses on Jews and

in Frantz Fanon’s 'Black Skin, White Masks