![]() The challenge is not only that of “expressing” or “inventorying the real” (PN 134/137/116 181/187/164), when Fanon has insisted on the multiplicity of racialized and colonized experience and on the differential positionalities within Blackness (PN 14/14/xviii), and when that “real” has been repressed through the spectacle staged in its place (Hartman 1997, 39). ![]() 3 Yet, this Fanonian approach also questions and reconfigures phenomenology-just as his work, in its irreducible methodological plurality, questions psychoanalysis, psychiatry, political philosophy, and ontology. 2 At stake is affectivity that remains beneath the level of intentional sense-giving (even as it motivates perception and emotion), more atmospheric or thalassic than object or act. This allows us to understand why a phenomenology of racialization is a phenomenology of affect, and not primarily a phenomenology of (visual) perception or the visible. While Fanon often deflects questions of formal method (PN 12/12/xvi), to touch the wounds of racialization, to make them felt and to dwell in them, brings us closest to his phenomenological method. Late in Pean noire, masques blancs, Frantz Fanon says: “we need to touch all the wounds that score the black livery (toucher du doigt toutes les plaies qui zèbrent la livrée noire)."' And then, citing Aimé Césaire: “for life is not a spectacle, for a sea of sorrows is not a proscenium, for a man who screams is not a dancing bear” (PN 181/187/164 Césaire 2017, 94). ![]() ![]() A phenomenology of racialization: spectacle and affect ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |