@book {2933,
	title = {All that beauty},
	year = {2019},
	note = {THE 618
 },
	publisher = {Letter Machine Editions},
	organization = {Letter Machine Editions},
	address = {Seattle},
	abstract = {ALL THAT BEAUTY ist ein bahnbrechender neuer Gedichtband von Fred Moten, der Motens Vorliebe f{\"u}r lyrische Prosodie, radikales Denken und afroamerikanische Theorie zu einem Werk verbindet, das sich von allen anderen Gedichten der Welt unterscheidet: "What is it to reside without settling? Is that is or is that ain{\textquoteright}t like being stuck in sweetness, held in life?"},
	keywords = {Gedicht, Live Constantly Escapes, Poem},
	issn = {9781732772113},
	author = {Moten, Fred}
}
@book {2984,
	title = {Novelty Theory},
	year = {2019},
	note = {THE 629},
	publisher = {The 87 Press},
	organization = {The 87 Press},
	address = {London},
	abstract = {Novelty Theory is the fiery debut collection of poetry by Caspar Heinemann.
"Caspar Heinemann has written an anthem for alien beloveds everywhere, in the time before rising up and where the {\textquotedblleft}pre-nothings{\textquotedblright} burn up as soon as you touch them. Reading this book burst adhesions in my outlook, which is what I want (always.) A book without an afterwards or a before, Novelty Theory occupies an intense present that does not console its readers. Can poetry be a form of cultural revenge?" {\textendash} Bhanu Kapil
Caspar Heinemann is a poet, artist, and academia-adjacent independent researcher based in London and Berlin. His research interests include critical mysticism, gay biosemiotics, illegitimate communisms, and professional irreverence. He has previously written on a pantheon including John Wieners, Diane di Prima, Paul Thek, and Derek Jarman. They hold a BA in Fine Art from Goldsmiths, University of London. Novelty Theory is his first book. },
	keywords = {Alltag, Gedichte, Live Constantly Escapes, Mystik, Natur, Poesie, Queer},
	issn = {978-1-9164774-3-8},
	author = {Caspar Heinemann}
}
@book {2968,
	title = {Under Representation. The Racial Regime of Aesthetics},
	year = {2019},
	note = {THE 624},
	publisher = {Fordham University Press},
	organization = {Fordham University Press},
	address = {New York},
	abstract = {Under Representation shows how the founding texts of aesthetic philosophy ground the racial order of the modern world in our concepts of universality, freedom, and humanity. In taking on the relation of aesthetics to race, Lloyd challenges the absence of sustained thought about race in postcolonial studies, as well as the lack of sustained attention to aesthetics in critical race theory.

Late Enlightenment discourse on aesthetic experience proposes a decisive account of the conditions of possibility for universal human subjecthood. The aesthetic forges a powerful {\textquotedblleft}racial regime of representation{\textquotedblright} whose genealogy runs from enlightenment thinkers like Kant and Schiller to late modernist critics like Adorno and Benjamin. For aesthetic philosophy, representation is not just about depiction of diverse humans or inclusion in political or cultural institutions. It is an activity that undergirds the various spheres of human practice and theory, from the most fundamental acts of perception and reflection to the relation of the subject to the political, the economic, and the social.

Representation regulates the distribution of racial identifications along a developmental trajectory: The racialized remain {\textquotedblleft}under representation,{\textquotedblright} on the threshold of humanity and not yet capable of freedom and civility as aesthetic thought defines those attributes. To ignore the aesthetic is thus to overlook its continuing force in the formation of the racial and political structures down to the present. Across five chapters, Under Representation investigates the aesthetic foundations of modern political subjectivity; race and the sublime; the logic of assimilation and the stereotype; the subaltern critique of representation; and the place of magic and the primitive in modernist concepts of art, aura and representation.

Both a genealogy and an account of our present, Under Representation ultimately helps show how a political reading of aesthetics can help us build a racial politics adequate for the problems we face today, one that stakes claims more radical than multicultural demands for representation.},
	keywords = {Aesthetics, Frantz Fanon, Friedrich Schiller, Gayatri Chakravorty Spivak, Immanuel Kant, Karl Marx, Live Constantly Escapes, Philosophy of Race, Political Ideology, Representation, Theodor Adorno, Walter Benjamin},
	issn = {9780823282371},
	author = {David Lloyd}
}
@book {2886,
	title = {Stolen life},
	year = {2018},
	note = {THE 600
},
	pages = {321},
	publisher = {Duke University Press},
	organization = {Duke University Press},
	address = {Durham},
	abstract = {"Als Trilogie ist consent not to be a single being eine monumentale Leistung: eine brillante theoretische Intervention, die man am besten als schlagkr{\"a}ftiges Pl{\"a}doyer f{\"u}r Schwarzsein als Analysekategorie bezeichnen k{\"o}nnte" - Brent Hayes Edwards, Autor von Epistrophies: Jazz und die literarische Vorstellungskraft

In Stolen Life - dem zweiten Band seiner bahnbrechenden Trilogie consent not to be a single being - unternimmt Fred Moten eine umfassende Erkundung von Blackness in Bezug auf das schwarze Leben und die kollektive Verweigerung des sozialen Todes. Die Essays widersetzen sich einer Kategorisierung und bewegen sich von Motens einleitender Meditation {\"u}ber Kant, Olaudah Equiano und die Bedingungen schwarzen Denkens {\"u}ber Diskussionen {\"u}ber akademische Freiheit, Schreiben und P{\"a}dagogik, Nicht-Neurotypizit{\"a}t und unkritische Vorstellungen von Freiheit. Durch die Auseinandersetzung mit Fanon, Hartman und Spillers modelliert Moten auch das schwarze Studium als eine Form des sozialen Lebens und lotet die Unterscheidung zwischen Schwarzsein und schwarzen Menschen durch die Lekt{\"u}re von Du Bois und Nahum Chandler aus. Die Kraft und Kreativit{\"a}t von Motens Kritik schwingt durchweg mit und erinnert uns nicht nur an seine Bedeutung als Denker, sondern auch an die fortw{\"a}hrende Notwendigkeit, Schwarzsein als eine Form der Sozialit{\"a}t zu hinterfragen.

_________________________________

"Taken as a trilogy, consent not to be a single being is a monumental accomplishment: a brilliant theoretical intervention that might be best described as a powerful case for blackness as a category of analysis."{\textemdash}Brent Hayes Edwards, author of Epistrophies: Jazz and the Literary Imagination

In Stolen Life{\textemdash}the second volume in his landmark trilogy consent not to be a single being{\textemdash}Fred Moten undertakes an expansive exploration of blackness as it relates to black life and the collective refusal of social death. The essays resist categorization, moving from Moten{\textquoteright}s opening meditation on Kant, Olaudah Equiano, and the conditions of black thought through discussions of academic freedom, writing and pedagogy, non-neurotypicality, and uncritical notions of freedom. Moten also models black study as a form of social life through an engagement with Fanon, Hartman, and Spillers and plumbs the distinction between blackness and black people in readings of Du Bois and Nahum Chandler. The force and creativity of Moten{\textquoteright}s criticism resonate throughout, reminding us not only of his importance as a thinker, but of the continued necessity of interrogating blackness as a form of sociality.},
	keywords = {african american Studies, Black Diaspora, Critical Theory, Cultural Studies, Live Constantly Escapes, Theory and Philosophy},
	issn = {9780822370581},
	author = {Moten, Fred}
}
@book {2885,
	title = {Black and Blur},
	year = {2017},
	note = {THE 599
},
	pages = {339},
	publisher = {Duke University Press},
	organization = {Duke University Press},
	address = {Durham; London},
	abstract = {"Als Trilogie ist consent not to be a single being eine monumentale Leistung: eine brillante theoretische Intervention, die man am ehesten als schlagkr{\"a}ftiges Pl{\"a}doyer f{\"u}r Schwarzsein als Analysekategorie bezeichnen k{\"o}nnte" - Brent Hayes Edwards, Autor von Epistrophies: Jazz und die literarische Vorstellungskraft

In Black and Blur - dem ersten Band seiner erhabenen und fesselnden Trilogie consent not to be a single being - widmet sich Fred Moten einer umfassenden Betrachtung des Stellenwerts und der Kraft von Schwarzsein in Kunst, Politik und Leben der afrikanischen Diaspora. In diesen zusammenh{\"a}ngenden Essays befasst sich Moten mit der Verflechtung, der Verwischung von Grenzen und anderen Praktiken, die Vorstellungen von Selbstbestimmung und Souver{\"a}nit{\"a}t in politischen und {\"a}sthetischen Bereichen in Frage stellen. Schwarz und Unsch{\"a}rfe ist gepr{\"a}gt von unwahrscheinlichen Gegen{\"u}berstellungen: Althusser flie{\ss}t in Analysen der Rapper Pras und Ol{\textquoteright} Dirty Bastard ein; Shakespeare trifft auf Stokely Carmichael; Denker wie Kant, Adorno und Jos{\'e} Esteban Mu{\~n}oz sowie K{\"u}nstler und Musiker wie Thornton Dial und Cecil Taylor spielen miteinander. Moten vertritt die Auffassung, dass Schwarzsein eine Reihe von sozialen, {\"a}sthetischen und theoretischen Aufst{\"a}nden umfasst, die auf eine gemeinsame Moderne reagieren, die auf der soziologischen Katastrophe des transatlantischen Sklavenhandels und des Siedlerkolonialismus beruht. Auf diese Weise stellt er normative Formen des Lesens, H{\"o}rens und Sehens in Frage und ordnet die Sinne neu, um neue Formen des Wissens zu schaffen.

____________________________________

"Taken as a trilogy, consent not to be a single being is a monumental accomplishment: a brilliant theoretical intervention that might be best described as a powerful case for blackness as a category of analysis."{\textemdash}Brent Hayes Edwards, author of Epistrophies: Jazz and the Literary Imagination

In Black and Blur{\textemdash}the first volume in his sublime and compelling trilogy consent not to be a single being{\textemdash}Fred Moten engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life. In these interrelated essays, Moten attends to entanglement, the blurring of borders, and other practices that trouble notions of self-determination and sovereignty within political and aesthetic realms. Black and Blur is marked by unlikely juxtapositions: Althusser informs analyses of rappers Pras and Ol{\textquoteright} Dirty Bastard; Shakespeare encounters Stokely Carmichael; thinkers like Kant, Adorno, and Jos{\'e} Esteban Mu{\~n}oz and artists and musicians including Thornton Dial and Cecil Taylor play off each other. Moten holds that blackness encompasses a range of social, aesthetic, and theoretical insurgencies that respond to a shared modernity founded upon the sociological catastrophe of the transatlantic slave trade and settler colonialism. In so doing, he unsettles normative ways of reading, hearing, and seeing, thereby reordering the senses to create new means of knowing.},
	keywords = {african american Studies, controversial essay, Cultural Studies, Live Constantly Escapes},
	issn = {9780822370161},
	author = {Moten, Fred}
}
@book {2970,
	title = {Who Touched Me?},
	year = {2016},
	note = {THE 626},
	publisher = {If I Can{\textquoteright}t Dance, I Don{\textquoteright}t Want To Be Part Of Your Revolution},
	organization = {If I Can{\textquoteright}t Dance, I Don{\textquoteright}t Want To Be Part Of Your Revolution},
	address = {Amsterdam},
	abstract = {Who Touched Me? ist eine Zusammenstellung der Recherchen von Fred Moten und Wu Tsang, die gemeinsam die Rollen des Dichters und des Performance-K{\"u}nstlers innehaben. Es zeichnet die Entwicklung ihrer skulpturalen Performance Gravitational Feel nach, die zum Zeitpunkt der Drucklegung des Buches noch nicht realisiert worden war. Das Buch stellt dem Leser diese Arbeit in ihrem virtuellen Zustand vor, w{\"a}hrend es gleichzeitig Motens und Tsangs gelebte Erfahrung der Zusammenarbeit anhand eines Textkorpus nachzeichnet, der sich aus E-Mail-Korrespondenz, Notizen, Gedichten, Fragmenten von Essays und Transkriptionen fr{\"u}herer gemeinsamer Arbeiten zusammensetzt. Diese miteinander verwobenen Texte bilden eine neue soziopoetische Form. Um aus den Seiten des Buches zu zitieren: "Die Forschung/das Experiment besteht darin, wie man Verstrickung wahrnimmt".

_________________________________

Who Touched Me? is a compilation of research by Fred Moten and Wu Tsang, who together cohabit the roles of poet and performance artist. It traces the development of their sculptural performance Gravitational Feel, which was yet to be realized at the time the book went to print. This book introduces the reader to this work in its virtual state, while tracing Moten and Tsang{\textquoteright}s lived experience of collaboration through a body of text composed of email correspondence, notes, poetry, fragments of essays, and transcriptions of earlier collaborative work. Together these entwined texts create a new socio-poetic form. To quote from the book{\textquoteright}s pages: {\textquotedblleft}The research/experiment is in how to sense entanglement.{\textquotedblright}},
	keywords = {E-Mail, Entanglement, Experiment, Gravitational Feel, Kollaboration, Kooperation, Live Constantly Escapes, Notizen, Performance, Poesie, Research},
	issn = {978-94-92139-06-1},
	author = {Fred Moten and Wu Tsang}
}
@book {2883,
	title = {Sylvia Wynter. On Being Human as Praxis},
	number = {290},
	year = {2015},
	note = {THE 597
},
	publisher = {Duke University Press},
	organization = {Duke University Press},
	address = {Durham},
	abstract = {Die jamaikanische Schriftstellerin und Kulturtheoretikerin Sylvia Wynter ist vor allem f{\"u}r ihre vielf{\"a}ltigen Schriften bekannt, in denen sie Erkenntnisse aus Geschichte, Literatur, Wissenschaft und Black Studies zusammenf{\"u}hrt, um Rassenfragen, das Erbe des Kolonialismus und Darstellungen des Menschseins zu untersuchen. Sylvia Wynter: On Being Human as Praxis ist eine kritische Genealogie von Wynters Werk, die ihre Einsichten dar{\"u}ber hervorhebt, wie Rasse, Ort und Zeit zusammen bestimmen, was Menschsein bedeutet. Die Autoren erforschen Wynters erstaunliche Neukonzeption des Menschseins in Bezug auf Konzepte von Schwarzsein, Modernit{\"a}t, urbanem Raum, Karibik, Wissenschaftsforschung, Migrationspolitik und die Verflechtung von kreativem und theoretischem Widerstand. Die Sammlung enth{\"a}lt ein ausf{\"u}hrliches Gespr{\"a}ch zwischen Sylvia Wynter und Katherine McKittrick, in dem Wynters Auseinandersetzung mit Schriftstellern wie Frantz Fanon, W. E. B. DuBois und Aim{\'e} C{\'e}saire beschrieben wird. Das Interview offenbart auch die sich st{\"a}ndig erweiternde Reichweite und Kraft von Wynters intellektuellem Projekt und verdeutlicht ihre Versuche, das Menschsein als Praxis zu rehistorisieren.

_______________________________

The Jamaican writer and cultural theorist Sylvia Wynter is best known for her diverse writings that pull together insights from theories in history, literature, science, and black studies, to explore race, the legacy of colonialism, and representations of humanness. Sylvia Wynter: On Being Human as Praxis is a critical genealogy of Wynter{\textquoteright}s work, highlighting her insights on how race, location, and time together inform what it means to be human. The contributors explore Wynter{\textquoteright}s stunning reconceptualization of the human in relation to concepts of blackness, modernity, urban space, the Caribbean, science studies, migratory politics, and the interconnectedness of creative and theoretical resistances. The collection includes an extensive conversation between Sylvia Wynter and Katherine McKittrick that delineates Wynter{\textquoteright}s engagement with writers such as Frantz Fanon, W. E. B. DuBois, and Aim{\'e} C{\'e}saire, among others; the interview also reveals the ever-extending range and power of Wynter{\textquoteright}s intellectual project,  and elucidates her attempts to rehistoricize humanness as praxis.

},
	keywords = {african american Studies, Cultural Studies, Feminismus, Literary Criticism, Live Constantly Escapes},
	issn = {9780822358343},
	author = {McKittrick, Katherine}
}
@book {2882,
	title = {Black, white, and in color. Essays on American literature and culture},
	year = {2003},
	note = {THE 596
},
	pages = {552},
	publisher = {University of Chicago Press},
	organization = {University of Chicago Press},
	address = {Chicago},
	abstract = {Black, White, and in Color bietet eine lang erwartete Sammlung wichtiger Essays von Hortense Spillers, einer der einflussreichsten und inspirierendsten schwarzen Kritikerinnen der letzten zwanzig Jahre. Von den fr{\"u}hen 1980er Jahren, in denen sie einen umfassenden poststrukturalistischen Ansatz f{\"u}r die afroamerikanische Literatur entwickelte, bis hin zu ihrer Hinwendung zu den Kulturwissenschaften in den 1990er Jahren zeigen diese Essays ihr leidenschaftliches Engagement f{\"u}r das Lesen als einen grundlegend politischen Akt - einen zentralen Beitrag zur Neuformulierung des humanistischen Projekts.

Spillers ist vor allem f{\"u}r ihre rassenzentrierte Revision der psychoanalytischen Theorie und f{\"u}r ihre subtile Darstellung der Beziehungen zwischen Rasse und Geschlecht bekannt. Dar{\"u}ber hinaus hat sie der Literaturkritik einige ihrer st{\"a}rksten Lesarten einzelner Autoren gegeben, die hier in bahnbrechenden Essays {\"u}ber Ralph Ellison, Gwendolyn Brooks und William Faulkner vertreten sind. Die in Black, White, and in Color versammelten Essays weisen alle den f{\"u}r Spillers typischen Stil auf: berauschend, eklektisch und erstaunlich produktiv f{\"u}r neue Ideen. Jeder, der sich f{\"u}r die afroamerikanische Kultur und Literatur interessiert, wird sie lesen wollen.

_________________________

Black, White, and in Color offers a long-awaited collection of major essays by Hortense Spillers, one of the most influential and inspiring black critics of the past twenty years. Spanning her work from the early 1980s, in which she pioneered a broadly poststructuralist approach to African American literature, and extending through her turn to cultural studies in the 1990s, these essays display her passionate commitment to reading as a fundamentally political act-one pivotal to rewriting the humanist project.

Spillers is best known for her race-centered revision of psychoanalytic theory and for her subtle account of the relationships between race and gender. She has also given literary criticism some of its most powerful readings of individual authors, represented here in seminal essays on Ralph Ellison, Gwendolyn Brooks, and William Faulkner. Ultimately, the essays collected in Black, White, and in Color all share Spillers{\textquoteright}s signature style: heady, eclectic, and astonishingly productive of new ideas. Anyone interested in African American culture and literature will want to read them.},
	keywords = {african american Studies, Cultural Studies, Feminismus, Literary Criticism, Live Constantly Escapes},
	issn = {9780226769806},
	author = {Spillers, Hortense J.}
}
@book {2884,
	title = {In the Break. The Aesthetics of the Black Radical Tradition},
	year = {2003},
	note = {THE 598
},
	pages = {315},
	publisher = {University of Minnesota Press},
	organization = {University of Minnesota Press},
	address = {Minneapolis},
	abstract = {Untersucht die Verbindungen zwischen Jazz, sexueller Identit{\"a}t und radikaler schwarzer Politik

In seinem umstrittenen Essay {\"u}ber den wei{\ss}en Jazzmusiker Burton Greene behauptete Amiri Baraka, Jazz sei eine ausschlie{\ss}lich afroamerikanische Kunstform, und verband ausdr{\"u}cklich die Idee einer schwarzen {\"A}sthetik mit radikalen politischen Traditionen der afrikanischen Diaspora. In der Pause wird die "Burton-Greene-Aff{\"a}re" ausf{\"u}hrlich behandelt, wobei die verworrene Beziehung zwischen der schwarzen Avantgarde in Musik und Literatur in den 1950er und 1960er Jahren, die Entstehung einer eigenst{\"a}ndigen Form des schwarzen kulturellen Nationalismus und die komplexe Auseinandersetzung mit der Homoerotik und deren Verleugnung, die beide miteinander verbindet, untersucht werden. Fred Moten konzentriert sich insbesondere auf den brillanten improvisierten Jazz von John Coltrane, Ornette Coleman, Albert Ayler, Eric Dolphy, Charles Mingus und anderen und vertritt die These, dass alle schwarzen Performances - Kultur, Politik, Sexualit{\"a}t, Identit{\"a}t und Schwarzsein selbst - Improvisation sind.

F{\"u}r Moten bietet die Improvisation einen einzigartigen erkenntnistheoretischen Standpunkt, von dem aus die provokanten Verbindungen zwischen schwarzer {\"A}sthetik und westlicher Philosophie untersucht werden k{\"o}nnen. Er unternimmt eine anstrengende kritische Analyse der westlichen Philosophie (Heidegger, Kant, Husserl, Wittgenstein und Derrida) durch das Prisma des radikalen schwarzen Denkens und der schwarzen Kultur. Als kritische, lyrische und verst{\"o}rende Performance des Menschlichen bringt Motens Konzept des Schwarzseins auch Figuren wie Frederick Douglass und Karl Marx, Cecil Taylor und Samuel R. Delany, Billie Holiday und William Shakespeare miteinander ins Gespr{\"a}ch.

Stilistisch brillant und herausfordernd, {\"a}hnlich wie die Musik, {\"u}ber die er schreibt, umfasst Motens weitreichende Diskussion eine Vielzahl von Disziplinen - Semiotik, Dekonstruktion, Genretheorie, Sozialgeschichte und Psychoanalyse -, um die politisierte Sexualit{\"a}t, insbesondere die Homoerotik, zu verstehen, die dem schwarzen Radikalismus zugrunde liegt. In the Break ist der erste Band von Motens ehrgeizigem intellektuellen Projekt, eine {\"a}sthetische Genealogie der schwarzen radikalen Tradition zu erstellen. 

______________________________

Investigates the connections between jazz, sexual identity, and radical black politics

In his controversial essay on white jazz musician Burton Greene, Amiri Baraka asserted that jazz was exclusively an African American art form and explicitly fused the idea of a black aesthetic with radical political traditions of the African diaspora. In the Break is an extended riff on "The Burton Greene Affair," exploring the tangled relationship between black avant-garde in music and literature in the 1950s and 1960s, the emergence of a distinct form of black cultural nationalism, and the complex engagement with and disavowal of homoeroticism that bridges the two. Fred Moten focuses in particular on the brilliant improvisatory jazz of John Coltrane, Ornette Coleman, Albert Ayler, Eric Dolphy, Charles Mingus, and others, arguing that all black performance--culture, politics, sexuality, identity, and blackness itself--is improvisation.

For Moten, improvisation provides a unique epistemological standpoint from which to investigate the provocative connections between black aesthetics and Western philosophy. He engages in a strenuous critical analysis of Western philosophy (Heidegger, Kant, Husserl, Wittgenstein, and Derrida) through the prism of radical black thought and culture. As the critical, lyrical, and disruptive performance of the human, Moten{\textquoteright}s concept of blackness also brings such figures as Frederick Douglass and Karl Marx, Cecil Taylor and Samuel R. Delany, Billie Holiday and William Shakespeare into conversation with each other.

Stylistically brilliant and challenging, much like the music he writes about, Moten{\textquoteright}s wide-ranging discussion embraces a variety of disciplines--semiotics, deconstruction, genre theory, social history, and psychoanalysis--to understand the politicized sexuality, particularly homoeroticism, underpinning black radicalism. In the Break is the inaugural volume in Moten{\textquoteright}s ambitious intellectual project-to establish an aesthetic genealogy of the black radical tradition.},
	keywords = {african american Studies, controversial essay, Cultural Studies, Live Constantly Escapes},
	issn = {9780816641000},
	author = {Moten, Fred}
}
@book {2969,
	title = {Scenes of Subjection. Terror, Slavery, and Self-Making in Nineteenth-Century America},
	year = {1997},
	note = {THE 625},
	publisher = {Oxford University Press},
	organization = {Oxford University Press},
	address = {New York},
	abstract = {
In this provocative and original exploration of racial subjugation during slavery and its aftermath, Saidiya Hartman illumines the forms of terror and resistance that shaped black identity. Scenes of Subjection examines the forms of domination that usually go undetected; in particular, the encroachments of power that take place through notions of humanity, enjoyment, protection, rights, and consent. By looking at slave narratives, plantation diaries, popular theater, slave performance, freedmen{\textquoteright}s primers, and legal cases, Hartman investigates a wide variety of "scenes" ranging from the auction block and minstrel show to the staging of the self-possessed and rights-bearing individual of freedom. While attentive to the performance of power--the terrible spectacles of slaveholders{\textquoteright} dominion and the innocent amusements designed to abase and pacify the enslaved--and the entanglements of pleasure and terror in these displays of mastery, Hartman also examines the possibilities for resistance, redress and transformation embodied in black performance and everyday practice. This important study contends that despite the legal abolition of slavery, emergent notions of individual will and responsibility revealed the tragic continuities between slavery and freedom. Bold and persuasively argued, Scenes of Subjection will engage readers in a broad range of historical, literary, and cultural studies.
},
	keywords = {Black History, Black Identidy, Cultural Studies, Domination, Humanity, Live Constantly Escapes, Power, Resistance, Slavery, Terror},
	issn = {9780195089844},
	author = {Saidiya Hartman}
}
