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Figurations of Tainted Whiteness in the Novels of Irvine Welsh, Niall Griffiths and John King
The Intrinsic Raciality of the American Gothic
Reading African American Literature and Culture with Bourdieu and Elias
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) Manners? The Logic of Reproduction in Colson Whitehead’s Sag Harbor Marlon Lieber | 101 “You People Almost Had Me Hating You Because of the Color of Your Skin”: Symbolic Violence and Black In-Group Racism in Percival Everett’s I Am Not Sidney Poitier Johannes Kohrs | 123 Black Women’s Business: Female Entrepreneurship and Economic Agency in Toni Morrison’s God Help the Child Stefanie Mueller | 145 “What’s the Position You Hold?”: Bourdieu and Rap Music Timo Müller | 165 “Decolorized for Popular Appeal”: ‘True’ Stories of African American

Christie, Harvey says to her: “You shut up, lady!” When “Black” is not one of the top six answers “up there” on the screen, the two compe- ting teams, the audience, and Harvey are visibly relieved; Christie is disappointed. Responses to Christie’s zombie answer ranged from ridicule and disbelief, for the hilarious “kneejerk response” (Moore n.p.), to an outright controversy over racism on TV, as noted in the Observer’s article, “Is this Family Feud Contestant Being a Zombie Racist?” (Grant n.p.) Was Christie being racist? If so, why did her racism only spill out

national and cultural identity will be negotiated and defined in the near future. Inevitably, this will have repercussions for the status of class, race and whiteness as they intersect within the construc- tion of British identity. The matter of abject tainted whiteness, however, must not be viewed as a particular intersection with class that happens in isolation from other raciological factors, affecting merely segments within the white population. Rather, it must be regarded within the larger context of racism. Recently, shortly before the General Elections of

Introducing Disagreement Rancière’s Anti-Sociology and the Parallax of Political Subjectivity and Political Economy (of Racism) DENNIS BÜSCHER-ULBRICH The sociology of “misrecognition” [...] share[s] with Althusser- ianism the idea that the dominated are dominated because they are ignorant of the laws of domination. This simplistic view at first assigns to those who adopt it the exalted task of bringing their science to the blind masses. Eventually, though, this exalt- ed task dissolves into a pure thought of resentment which de- clares the

the point where schol- arship claims an African American “anti-gothic” (Smethurst 29)—indeed is telling. As I have shown in detail above, the early African American Gothic novel balan- ces a uniquely Black Gothic writing strategy and conventionality (traceable back to Equiano and the African American slave narrators) with a reiterative practice of responding to—and resisting—the early WASP Gothic’s rampant racism. In this respect, the early African American Gothic is as far from being “anti-gothic” as it is from being readily subsumable under the term “American

multiculturalist paradigm of the time in order to create voluntary connections between different ethnic groups and to invigorate cosmopolitanism with a new sensitivity to the importance of roots (Hollinger 1– 18). Whereas Hollinger’s approach couches this concept in a liberal progressive narrative, right-wing political activists have readily taken on this narrative to veil persisting racist attitudes. It is in this context that social scientists refer to today’s color-blind racism, post-civil rights color apathy, or racism without racists. 1 Ideas of the postracial have

“You People Almost Had Me Hating You Because of the Color of Your Skin” Symbolic Violence and Black In-Group Racism in Percival Everett’s I Am Not Sidney Poitier JOHANNES KOHRS imagine!...words were coming…a voice she did not recognize…at first…so long since it had sounded…then finally had to ad- mit…could be none other…than her own. SAMUEL BECKETT / NOT I What does it mean to be not Sidney Poitier? More precisely: What does it mean to be black, male but not Sidney Poitier? Or, more precisely and con- fusingly: What does it mean to be black