Blackness out of Place: Black Countervisuality in Portugal and Its Former Empire.
This article explores how historical narratives and aesthetic models configuring Portuguese imperial visuality produced the absented presence of Africa and its diasporas. Despite centuries of interconnected histories of colonial domination and enslavement, but also marronage and resistance, Black su...
| Publicado en: | Radical History Review Vol. 2022; no. 144; pp. 106 - 131 |
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| Formato: | Artículo |
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Duke University Press
Oct2022
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=160455062&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 160455062 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01636545 2AT jtl: Radical History Review issn: 01636545 maglogo: N pubinfo: dt: Oct2022 vid: 2022 iid: 144 pid: 154 pub: Duke University Press artinfo: ui: 160455062 10.1215/01636545-9847830 ppf: 106 ppct: 25 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.2MB tig: atl: Blackness out of Place: Black Countervisuality in Portugal and Its Former Empire. aug: au: Marcos, Patrícia Martins su: Imperialism Black people Mbembe, Achille Sovereignty Portugal sug: subj: Portugal Imperialism Black people Mbembe, Achille Sovereignty keyword: African diasporas Black aesthetics Black Atlantic Portuguese colonialism quilombismo ab: This article explores how historical narratives and aesthetic models configuring Portuguese imperial visuality produced the absented presence of Africa and its diasporas. Despite centuries of interconnected histories of colonial domination and enslavement, but also marronage and resistance, Black subjecthood was reduced in Portugal to a "foreign" presence. These silences ossify a regime of imperial visuality premised on the hegemonic overrepresentation of white masculinity—rendered through depictions of "navigators" as paragons of historical agency. Through the analytic countervisual quilombismo, this essay confronts such elisions by engaging with Achille Mbembe's Afropolitan call to "produce new images for thought." Focus on countervisual maroon (quilombismo) methods of refusal and fugitivity reveals the enactment of Black sovereignty and affirms Blackness as being. By affirming Black life and autonomy, diasporic artists, performers, and everyday people interrupt colonial frames, refusing the ethnographic reduction of Blackness to a body and its classificatory markers, thus revealing possibilities for different pasts, presents, and futures. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Radical History Review is the property of Duke University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Radical History Review holder: Duke University Press dt: @attributes: year: 2022 holdings: @attributes: islocal: N |
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