Paul Gilroy

On a Black culture not specifically American, African, Carribean or British but all at once.

Modernity and Double Consciousness

The Black Atlantic

Examines and defends multiculturalism within the context of a post-9/II "politics of security." This work pinpoints melancholic reactions not only in the hostility and violence directed at blacks, immigrants, and aliens but also in an inability to value the ordinary, unruly multiculture that has evolved organically and unnoticed in urban centers.

Postcolonial Melancholia

Gilroy demonstrates the enormous complexity of racial politics in England today. Exploring the relationships among race, class, and nation as they have evolved over the past twenty years, he highlights racist attitudes that transcend the left-right political divide. He challenges current sociological approaches to racism as well as the ethnocentric bias of British cultural studies. "Gilroy demonstrates effectively that cultural traditions are not static, but develop, grow and indeed mutate, as they influence and are influenced by the other changing traditions around them."—David Edgar, Listener Review of Books. "A fascinating analysis of the discourses that have accompanied black settlement in Britain. . . . An important addition to the stock of critical works on race and culture."—David Okuefuna, Chicago Tribune

The Cultural Politics of Race and Nation

'There Ain't No Black in the Union Jack'

Clássico contemporâneo da sociologia e dos estudos da cultura, O Atlântico negro, de Paul Gilroy, professor da Universidade de Yale, busca definir a modernidade a partir do conceito de diáspora negra e suas narrativas de perda, exílio e viagens. Histórias de deslocamentos e identidades caracterizam essa formação que Gilroy chama de Atlântico negro: um conjunto cultural irredutivelmente moderno, excêntrico, instável e assimétrico, que escapa à lógica estreita das simplificações étnicas, e se manifesta tanto nos escritos de W. E. B. Du Bois como nas letras dos rappers do século XXI.

Modernidade e dupla consciência

O Atlântico negro

Imagining Political Culture beyond the Color Line

Against Race

Calypso, Voodoo, Sunshine, Communism, Reggae, Colonialism, The Slave Trade, Rum, Revolution, Industry and Tourism - 100 years of the Caribbean image and identity is captured in this deluxe new hardback photography book. The image of the Caribbean is as much a creation of the outsider as it is the complex identity of its people - a melting pot of races created out of the participants in the 400 year slave trade - enforced Africans, indigenous Americans and their colonisers - French, Spanish, German, Dutch, English. The identity of the Caribbean stands at this intersection of tourism, the detritus of the slave trade, colonialism and tropicality. The regions politics span a hot bed of ideas and radicalism - from Castro's Cuba, communist thorn in the side of North America, to the violent right-wing dictatorship of Haiti's Papa Doc in the 1960s; from Manley's Jamaica in the 1970s to Eric Williams' Trinidad in the 1960s. This book is a deluxe large format hardback book featuring 100s of fascinating and unique photographs that span one hundred years of Caribbean history, culture, industry and more as well as the subsequent diaspora of its people to America, England and elsewhere. The photographs show the many ways in which the region is portrayed - from luscious and tropical backdrop of tourism and hedonism, to colonial outpost and revolutionary threat within North America's own backyard.

100 Years of Photography in the Caribbean

90 Degrees of Shade

In this provocative book, now reissued with a new introduction, Paul Gilroy contends that race-thinking has distorted the finest promises of modern democracy. He compels us to see that fascism was the principal political innovation of the twentieth century - and that its power to seduce did not die in a bunker in Berlin. Between Camps addresses questions such as: * Why do we still divide humanity into different identity groups based on skin colour? * Did all the good done by the Civil Rights Movement and the decolonization of the Third World have such little lasting effect? Gilroy examines the ways in which media and commodity culture have become pre-eminent in our lives in the years since the 1960s and especially in the 1980s with the rise of hip-hop and other militancies. With this trend, he contends, much that was valuable about black culture has been sacrificed in the service of corporate interests and new forms of cultural expression tied to visual technologies. He argues that the triumph of the image spells death to politics and reduces people to mere symbols. At its heart, Between Campsis a Utopian project calling for the renunciation of race. Gilroy champions a new humanism, global and cosmopolitan, and he offers a new political language and a new moral vision for what was once called 'anti-racism'.

Nations, Cultures and the Allure of Race

Between Camps

This classic book is a powerful indictment of contemporary attitudes to race. By accusing British intellectuals and politicians on both sides of the political divide of refusing to take race seriously, Paul Gilroy caused immediate uproar when this book was first published in 1987. A brilliant and explosive exploration of racial discourses, There Ain’t No Black in the Union Jack provided a powerful new direction for race relations in Britain. Still dynamite today and as relevant as ever, this Routledge Classics edition includes a new introduction by the author.

There Ain't No Black in the Union Jack

modernidade e dupla consciência

O arlântico negro

This text sketches a critical account of the location of black intellectuals in the modern world following the end of racial slavery. The book explores the reactions of black writers to modernity's colour-coded promises, demonstrating the value of a politicized post-modernism in re-reading black cultural politics and political culture. The lives and writings of key African Americans such as Martin Delany, W.E.B. Dubois, Frederick Douglas and Richard Wright are examined in the light of their experiences outside the US in Europe and Africa. Gilroy provides an extensive discussion of black vernacular cultures, especially music.

Black people have inhabited the British Isles for centuries. Eminent professor Paul Gilroy, renowned for his work exploring the social and cultural dimensions of British blackness and black Britishness, has assembled a living visual history of blacks in the British Isles. Watershed moments include the rise and commercial circulation of black culture and music, the world wars, the Manchester Pan African Congress, the historic settlement of the Windrush generation and the riots of the 1980s. Luminaries drawn from politics, art and sport appear alongside many pioneers.

A Photographic History

Black Britain

In Postcolonial Melancholia, Paul Gilroy continues the conversation he began in his landmark study of race and nation, 'There Ain't No Black in the Union Jack, ' by once again departing from conventional wisdom to examine-and defend-multiculturalism within the context of a post-9/11 "politics of security." Gilroy adapts the concept of melancholia from its Freudian origins and applies it to the social pathology of neoimperialist politics. His unorthodox analysis pinpoints melancholic reactions not only in the hostility and violence directed at blacks, immigrants, and aliens but also in an inability to value the ordinary, unruly multiculture that has evolved organically and unnoticed in urban centers. Drawing on seminal discussions of race by Frantz Fanon, W. E. B. DuBois, and George Orwell, Gilroy goes beyond the idea of mere tolerance and proposes that it is possible to celebrate multiculture and live with otherness without becoming anxious, fearful, or violent.

He argues that the triumph of the image spells death to politics and reduces people to mere symbols."--BOOK JACKET.

Imagining Political Culture Beyond the Color Line

Rosi Braidotti

How might we reinvent the humanities? This is the question at the heart of this provocative volume. It is a difficult mission and definitely one which needs to be addressed with increasing urgency. There is no better cast to confront and problematize this question than the contributors to Conflicting Humanities. They are world-renowned thinkers who can tackle the problem as researchers and teachers but also as prominent public intellectuals. Taking the intellectual and political legacies of Edward Said as a point of departure and frame of reference, the contributors – working in a range of disciplinary settings – consider the current condition of humanism and the humanities. Said's definition of the core task of the Humanities as the pursuit of democratic criticism remains more urgent than ever, though it needs to be supplemented by gender, environmental, and anti-racist perspectives as well as by detailed analysis of the necro-political governmentality of our time. An innovative piece of scholarship, this volume is committed to the refusal of a world riven by new kinds of warcraft, injustice and exploitation.

Conflicting Humanities

Introduction Get Free or Die Tryin' Declaration of Rights Troubadours, Warriors, and Diplomats Notes Acknowledgements Index.

On the Moral Economies of Black Atlantic Culture

Darker Than Blue

Mark Sealy

John Goto

Lovers' Rock is a series of portraits created in Lewisham, South London in 1977. At the time, John Goto taught evening classes in photography and film for two years at Lewisham Youth Centre, where this series was taken. Since then, the negatives have lain dormant in his studio.The unselfconscious engagement of the subjects in front of the camera can be, in part, explained by their familiarity with the photographer, who was not much older than the sitters.The series is entitled Lovers' Rock after a musical sub-genre that grew out of the South London reggae scene in the mid-1970s. In 1975, the singer Louisa Mark cut the first Lovers' Rock hit with Caught You in a Lie.

Lovers' Rock

Giuliana Bruno

Isaac Julien

Cynthia Rose

'Riot' is an intellectual and professional autobiography of the British artist and filmmaker Isaac Julien, whose trail-blazing career has moved through forms of documentary, biography, dance, narrative film, and multiscreen installation. Both visually sensuous and politically and socially engaged, Julien's films draw on influence as disparate as silent cinema, cultural studies, news stories, Chinese myth and popular music.

Isaac Julien: Riot

'After Empire' explores Britain's failure to come to terms with the loss of its empire and pre-eminent global standing. It shows that what we make of the country's postcolonial opportunity will influence the future of Europe and the viability of race as a political category.

Paul Gilroy

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