Whiteness

This article explores space imagery in the music of George
Clinton and David Bowie and argues that different horizons of Black and
white terrestrial experience give rise to divergent astral imaginaries.
Analysis of song lyrics, liner notes, and statements by the artists in light
of their social contexts and the theoretical lens of Bakhtin’s grotesque
body shows that Bowie models white imaginations of evolutionary
transcendence in contrast to Clinton as provocateur of a Black
carnivalesque seeking liberation from lived inequality.

Despite the racial inequality in the Irish labour market, race is still not centred in the discourse. This article examines the skin colour based racism in the labour market particularly targeted against Blacks. It exposes the colour-coded hierarchy which attributes differentials in outcome to some form of deficit among marginalised groups. The article argues that a migrant deficit approach is counterproductive and should be discouraged as it perpetuates racial stereotypes and presupposes that labour markets are meritocratic socioeconomic environments.

Using critical rhetorical analysis (McKerrow, 1989) as a method of analysis and critique, and informed by critical whiteness studies (Nakayama & Krizek, 1995) and Black feminist thought (Collins, 1991), this project argues that NFL North Carolina Panthers’ quarterback Cam Newton and NBA Oklahoma City Thunder’s point guard Russell Westbrook rhetorically perform an alternative Black masculinity that symbolically contests whiteness’s surveillance of male bodies who occupy Black positionality in the NFL and NBA via their performance of cool pose (Majors & Billson, 1992). Focusing on news and sports media coverage in the 2015–2016 season, this project also interrog- ates whiteness’s strategies to reconstitute Newton and Westbrook’s expressions of cool pose by inscribing Black masculinity with belit- tling and dehumanizing controlling images that favor whiteness and White masculinity. This manuscript closes with a discussion of the harmful repercussions of whiteness’s strategies in pro sports as well as the possibilities that athletes like Newton and Westbrook bring forth for social justice initiatives.

These poems, composed in Somali and in English, provide a poetic reflection of the recently emerged debate on the theme of Caddaan Studies which means "White Studies". The criticism and counter-criticism contained in the debate dug so deep into life nerve of Somali Studies that over a thousand people participated. The poems, under the title "Inaugurating Caddaan Studies" were composed with a critical observation of the debate.

This article explores the views of 906 football fans (96% of whom selfidentified as White), collected via an online survey from May-June 2019, regarding the impact of the leading equality and inclusion organization, Kick It Out, in delivering initiatives to challenge the multifaceted expressions of racism by some White English football fans. Whilst fans recognize the importance of raising awareness of racial discrimination, nearly three quarters of White fans do not engage with any Kick It Out initiatives. In the face of new challenges, including the largely unregulated space of social media, and a socio-political climate that has facilitated the resurgence of overtly expressed bigoted, colour and cultural-based racisms, the article stresses that the English football authorities must support the work of anti-racism organizations to increase their potency amongst White fans if racial discrimination is to be more effectively challenged in the future.

This book examines and confronts the passive and often unconscious racism of white teacher education students, offering a critical tool in the effort to make education more equitable. Sherry Marx provides a consciousness-raising account of how white teachers must come to recognize their own positions of privilege and work actively to create anti-racist teaching techniques and learning environments for children of color and children learning English as a second language.

Voici une adaptation graphique par Chloloula et Emanuelle Dufour d'un très beau message publié par Gabrièle Gilbert sur les réseaux sociaux et qui offre des conseils pour être un.e bon.ne allié.e dans la lutte contre la discrimination et le racisme. Cette facilitation fut réalisée en collaboration avec l'autrice et fut également validé par d'autres personnes racisées telles que Nathasha Lafontaine et Jean-Yves Sylvestre.

Parce que 'ne pas être raciste', en 2020, ne suffit pas. Ensemble, on peut faire mieux et davantage.

https://www.facebook.com/photo.php?fbid=10156974630781573&set=pcb.10156974692711573&type=3&theater

Contribution au dessin: Lou M. Strauss (8 ans)
Révision linguistique: Martin Strauss

Objective. We propose and develop novel survey questions and quantitative summary indices of White Fragility. Methods. The data come from the 2018 Survey of White Fragility, a longitudinal convenience sample of 279 non-Hispanic white undergraduate students aged 18 and over taking courses at two large public universities in the southeastern and southwestern United States. Results. Factor analyses revealed two latent factors. The first factor—Remorse Fragility—was defined by feeling sad, guilty, and, to a lesser extent, angry in the context of discussions related to racism, race-based discrimination, and white privilege. The second factor—Depletion Fragility—was defined by feeling drained/exhausted, unsafe, and, to a lesser extent, attacked and confused in the same contexts. Additional analyses supported the reliability and validity of our indices. Conclusion. More research is needed to establish measures of White Fragility to inform interventions that support critical discussions of whiteness and the racist structures of society.

In White Bread, readers accompany Jessica on a journey into her family’s past, into herself, and into the bicultural community she teaches but does not understand. Jessica, a fictional White fifth-grade teacher, is prompted to explore her family history by the unexpected discovery of a hundred-year-old letter. Simultaneously, she begins to grapple with culture and racism, principally through discussions with a Mexican American teacher. White Bread pulls readers into a tumultuous six months of Jessica’s life as she confronts many issues that turn out to be interrelated, such as why she knows so little about her family’s past, why she craves community as she feels increasingly isolated, why the Latino teachers want the curriculum to be more Latino, and whether she can become the kind of teacher who sparks student learning.
The storyline alternates between past and present, acquainting readers with German American communities in the Midwest during the late 1800s and early 1900s, portraits based on detailed historic excavation. What happened to these communities gives Jessica the key to unlock answers to questions that plague her.
White Bread can be read simply for pleasure. It can also be used in teacher education, ethnic studies, and sociology courses. Beginning teachers may see their own struggles reflected in Jessica’s classroom. People of European descent might see themselves within, rather than outside, multicultural studies. White Bread can also be used in conjunction with family history research.

This article uses Lefebvre's concept of right to the city to frame the practices of a Kindergarten teacher and her ability to create a more racially equitable classroom space. It explains how the teacher and researcher collaboratively engaged in racial spaces analysis and critical race theory to develop greater racial spatial awareness. The teacher was able to use this awareness to resist neoliberalism and the raciali-zation space in her classroom. The article explains how framing classroom practice according to right to the city can help teachers and researchers work together towards spatial justice in schools, where the educational rights of students of color are not limited by reductive notions of property based in whiteness.

The transition from the 1960s to the 1970s saw the birth of two significant countercultural products: Charles Reich’s bestseller The Greening of America (1970) and Dennis Hopper’s surprising box office success Easy Rider (1969) . This article argues that Reich’s analysis of a “loss of self” in US society constructed white identity as being in crisis, thus setting the stage for affective solutions to this crisis by emergent cultural forms. The article understands both of these cultural artefacts as complicit in the emergence of a countercultural reconfiguration of white subjectivity, examining its racial politics and its translation into an aesthetic regime that came to be known as the cinema of the New Hollywood.

This article uses a newly developed theoretical concept – the 'uncommodified blackness' image, to accentuate the discursive methods in which the humanness of Africans is denied in subtle and commonplace ways in Australia. In other words, the concept of uncommodified blackness is used in this study to theorise both the racist infrahumanisation and the blatant racist dehumanisation that Africans are subjected to in Australia. An analysis of semi-structured interviews with 11 research participants suggests that, through the image of uncommodified blackness, the participants are viewed by mainstream Australia as dysfunctional and dirty Others who ought to be avoided in public transport. Participants' lived experiences imply that mainstream Australia regards them as outsiders and perpetual refugees who are failing at 'integration'.

"What time is it?" is a seemingly benign question asked to orient a person to time and space. The banality of this question should not excuse what are arguably serious limitations. Rather than using an adjective (i.e., what), it may be more sociologically productive to use a determiner (e.g., whose). Asking "Whose time is it?" alludes to the inherent power relations associated with time that privilege some at the expense of others. In reframing the question, we open possibilities to appreciate the way time is experienced differently between individuals and groups. Investigating the different dimensions of power associated with time also reveals how individuals and groups are rendered legible, illegible, and/or nonexistent within conventional temporal terms. As an application of 770469S REXXX10.1177/2332649218770469Sociology of Race and EthnicityMahadeo research-article2018 Abstract Independently, the study of whiteness and the study of time are important interventions in sociology. A solid foundation for any empirical investigation of the relationship between whiteness and the racialized temporalities of racialized youth, however, has yet to be set. Drawing on data from 30 in-person interviews and ethnographic methods, the author explores how racialized youth interpret time in relation to whiteness and the experiences of white youth. The data for this research are based on more than one year of fieldwork at Run-aWay , a multiservice center for youth. Results show that racialized youth view white youth as having more time to take advantage of educational and employment opportunities. As a result of the perceived temporal advantage held by their white counterparts, racialized youth expressed feelings of temporal inequality and disparate life chances. Forced to work twice as hard to be half as good, youth saw their time horizons as compressed. The author shows how racialized youth lose time through physical, psychic, and emotional labor required to process racialization and racism and illustrates the various structural mechanisms that steal their time. Despite the temporal inequalities between them and their white counterparts, youth at Run-aWay discovered ways to invert the terms of temporality to ensure that their culture was always most relevant and "up to date." Although whiteness is linked to modernity and that which is future oriented, racialized youth viewed their white counterparts as behind time, lame, or just plain "wack" (uncool).

Resolving the Conflict between the idea of unbridled Liberty and Freedom on the one hand and Responsibility and Duty on the other.

The Jews sparked the French Revolution with the catchwords Liberty, Equality, Fraternity and threw that great White nation into a turmoil from
which it never recovered. During the chaos the Jews themselves had engineered, they were quick to take advantage of the breakdown and
massacre the finest of the White French leadership. As the guillotine was busily employed, as heads rolled and women counted stitches in their
knitting in a synchronized debacle of horror, the Jews were exercising two of their most potent weapons. These were (a) always kill the best (of
the White Race) and (b) divide and conquer.

The Jews themselves say in "The Protocols of the Elders of Zion" that they have been the first to cry among the masses these same
catchwords (or their equivalent) since ancient times, and any number of times since the French Revolution. They have used these ideas as bait
repeatedly throughout history to stir the masses, to trap them into turmoil and anarchy and then to destroy, conquer and enslave their gullible
victims.

In Protocol No. I they point out with wry sarcasm that these catchwords embodying the ideas of "Liberty", "Equality", "Fraternity", "Freedom"
and "Individualism'' have always worked like a charm against those goyim they wish to destroy. They further point out that the goyim, who
himself took up the cry, was always too stupid to realize that the ideas were in themselves contradictory and impossible of fulfillment.
We must remember, of course, that the Protocols were not written for the enlightenment of the Goyim (the derogatory Jewish term for Gentiles,
meaning stupid cattle) but were written solely for the secret direction of Jewish insiders as a plan and program for the destruction of the Goyim,
especially the White Race. They were never meant to become public knowledge to the Goyim and it is an accident of history that we have
learned about them at all. Actually, despite the fact that the Protocols have been public knowledge (a copy was placed in the British Museum in
1906) since 1905, the Jews have been so successful in suppressing and/or discrediting this veritable powder-keg that very few White people
know about them even today, more than three quarters of a century later. (For further information about the Protocols read Chapters 19 and
20 of NATURE'S ETERNAL RELIGION.)

This article explores the strategic functions of white feminist comedy to mask and dismiss racism through an analysis of two recent films: Tina Fey’s Whiskey Tango Foxtrot and Amy Schumer’s Snatched. Both comedians are revered for their feminist politics, but we argue that they mobilize these politics to absolve themselves of criticism regarding race. Drawing upon comedic traditions of pseudosatire and feminist calls for reflexivity, we engage the term weak reflexivity to map the process through which Fey and Schumer acknowledge their subjectivity as white women while simultaneously reproducing dominant racial ideologies through the racist content of their films. Ultimately, this strategically resecures the power of white privilege over the interests of multiply marginalized subjects. By examining how whiteness functions in comedy and in celebrity feminism writ large, we expose the strategies that allow whiteness to remain undefined and at the forefront of feminist organizing.

The Afrocentric view concerning Jamaicans who bleach their skins is that they suffer from self-hate, a result of the lingering psychological scars of slavery. The self-hatred thesis is tested by comparing the self-esteem scores of a small convenience sample of skin bleachers with the scores of a control group. The two groups have almost the same average scores above the median, which indicates that skin bleaching did not occur because of low self-esteem. The preliminary results suggest that there are varied reasons for skin bleaching and there is a range of Black identities as each person constructs his or her identity in a multicultural society.

In this paper, I explore how the US-based Religious Right and white nationalist movements are both organized around a similar politics of gender rooted in defending the patriarchal family. While the broader meanings of the family differ in each framework-either providing the foundation for the racial nation or the religious order-there is surprising agreement across these movements around understanding the family as a heterosexual and patriarchal institution that is under attack. Based in long-term ethnographic research in both movements, I show how defending the hetero-patriarchal family provides valorized gendered identities for their participants along with a moral justification for prejudice, particularly through a discourse of defending women and children from feminism and queerness. This analysis shows how contemporary right-wing and authoritarian movements rally around this family-modern, classed and raced, and patriarchal-as an anchor of stability in a time of increasing economic and social change.

If it had been built, the Fairfield Renewable Energy Project would have been the largest trash incinerator in the United States, burning 4,000 tons of waste each day in late‐industrial Baltimore. When it was first proposed, two discourses of renewal coalesced around the project. One was propagated by technocrats who argued incineration should be regulated as a renewable technology. Another emerged among working‐class whites who hoped the plant would reinvigorate their ailing economy. Both discourses hinged on comparisons with the past and maneuvers between futures near and far, gaining ground through subjunctive politics. Recast in this light, both technocratic dreams and local narratives of waste, race, and decline betray a deep ambivalence about the sorts of futures that seem plausible within a geography of “undesirables.” [subjunctive politics, waste, race, renewal, future, uncertainty, environment, Baltimore, United States]

In contemporary studies of blackness, scholars are re- sponding to the need for more nuanced representations of everyday life to illustrate the commonalities and divergence of negotiating whiteness. In this essay, I situate the Gullah/Geechee within ongoing struggles for accurate representation and access to power across the contested landscapes of the ‘‘New South.’’ More specifically, I interrogate three economic strategies of urban development: urban renewal, historic preservation, and heritage tourism, as contemporary manifestations of white racism. I begin by defining the Gullah/Geechee as a cultural group within their own situated predicament. Next, I operationalize ‘‘the social field of whiteness’’ and ‘‘white racism as habitus’’ as tools for the subsequent discussion. Finally, I zoom in for a closer look at Charleston, South Carolina, as a local site of this increasingly global process. Throughout this essay, I demonstrate how these particular strategies of urban development serve as ‘‘security checkpoints’’ in the maintenance of race-based inequality across the broader ‘‘social field of whiteness.’’

In an effort to provide audiences the opportunity to more deeply engage issues of race and identity as raised by the (1)ne Drop project, we have embarked upon a national campus tour. Colleges and universities are now able to host the (1)ne Drop exhibit on their campuses. Curated specifically for college campuses, each exhibit will be accompanied by a multimedia lecture on skin color politics and Black racial identity, entitled “One Drop: Fact, Fiction, or Fate” presented by Dr. Yaba Blay, (1)ne Drop author, Artistic Director of the project, and teacher-scholar of Africana Studies.

Através do estudo de lugares-comuns na música popular brasileira, Aqui ninguém é branco propõe releituras do cosmopolitismo brasileiro, do corpo dançante como emblema da nação, da marca deixada pelos escravos e da ligação entre branco e negro no cotidiano. Discute também as maneiras em que, na grande imprensa, o branco é valorizado e a experiência americana de relações raciais é tratada como ameaçadora e radicalmente diferente da brasileira.

As it currently stands, little academic attention has been paid to the systematic devaluation of femininity or femmephobia. By adopting “femme” as a critical analytic, this paper dislocates femininity from its ascribed Otherness and demonstrates how empowered femininities have been overlooked within gender studies. Femme, as the failure or refusal to approximate the patriarchal norms of femininity, serves as the conceptual anchor of this study and is used to examine how femmephobic sentiments are perpetuated within Contemporary Western Feminist (CWF) theory. This perpetuation is propped up by the thematic marginaliza- tion of empowered femininities from the texts chosen for gender studies courses, revealing a normative feminist body constructed through the privileging of identities that maintains femininity as white, middle-class, normatively bodied, and without agency. The excavation of an empowered feminine subject from the margins reveals the foothold of normative whiteness embedded within feminist pedagogies. Using a thematic analysis of how femininity is taken-up within textbooks used in gender studies courses, the current paper demonstrates how intersections of femininity have yet to be addressed within dominant Feminist theories. The femme—as a queer potentiality—o ers a way of (re)thinking through the limitations of CWF theory and the paradoxical preoccupations with the absented femme.

In analyzing a gossip session between three Australians and this author in Brisbane, it is argued that discordance, defined as (partial) lack of agreement or harmony among interlocutors, may not develop into a conflict-ridden argument if the meta-strategy of "tact" is used in "ritualized" communication (Senft 2009). Specifically, Australians' gossip that targeted a Japanese woman was "unsafe" for this Japanese author but their use of "crossing" strategies such as stereotypically ambiguous Japanese expressions, metapragamatic/metalinguistic glossing, and remedial interchanges,  prevented the interaction from developing into conflict. Implications are discussed with reference to the relationship between macro-social notions such as "White multiculturalism" (Hage 2000) and Goffmanian-Gumperzian interactional notions such as "ritual", "discourse strategies", and "crossing" (cf. Rampton 1995).

In 2012 I started a series of paintings of Marilyn Monroe's white dresses. While painting, it became apparent that they were more about the body inside them than about the dresses themselves. Since her tragic and much speculated-over death, Monroe has been infantilized and cast as a victim by many biographers, while at the same time being used as a figurehead for a multiplicity of ideas around sexuality, whiteness, 'otherness' and feminism by theorists and artists. In the article I look at how Monroe's image, despite, or maybe because of, her efforts to control it during her lifetime, has continued to be influential. I refer to specific examples of her film roles and her costumes to unpick why she is still such a fascinating figure and why my paintings, while not actually featuring Monroe, manage to convey a powerful essence of her through the trace of her body.

Commentators have suggested that Nella Larsen’s Passing rejects the view that there is some sort of black essence. I want to challenge this reading. Since Irene is the most vocal advocate of an essence in respect to which all blacks are homogeneous, much of the evidence for thinking that Passing is skeptical about such an essence amounts to evidence for not trusting Irene’s judgment in general, and for not trusting her judgment on this matter in particular. My arguments, then, will often involve explaining why Passing is not leading the reader to mistrust Irene’s judgment on this matter. Now, what exactly is meant by a black essence is, explicitly in this book, mysterious. Nevertheless, I hope to shed some light on how Passing understands the nature of this something, this je ne sais quoi, peculiar to blacks. My tentative interpretation is that this something is an intangible and indefinite manner of being that is neither a conscious choice nor an inborn fact of biology, but rather a given of culture. I take this, in effect, blackness manner to be, so Passing seems to indicate, a function of one’s belief that one is black in a milieu of pervasive anti-black prejudice. Passing, as I see it, thus has something to offer those of us today who struggle to adjudicate between a pull towards essentialism and a pull towards constructionism. What Passing emphasizes in this discussion is the possibility that, in addition to biological and societal influences, one’s mind state is a crucial ingredient to one’s racial identity.