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The Afrikaans poetry collections grond/Santekraam (2011) by Ronelda S. Kamfer and bientang (2020) by Jolyn Phillips both centralise the ocean and both deal with attempts at recovering repressed black histories. Apart from figuring as a source of spiritual fulfilment and connected to figures in the collection’s livelihoods, the ocean is represented in these collections as the bringer of European colonisers and of slaves to South Africa. In this article I contend that references to slavery and colonialism and the use of words in languages brought to South Africa through slave networks position these collections as products of the transnational Black Atlantic tradition, as theorised by Paul Gilroy. The fact that the narratives of both collections take place in the Overstrand region, near the meeting place of the Atlantic and Indian Oceans, gives an indication of how Gilroy’s theory needs to be adapted to be applicable to Afrikaans literature: as many English-language South African theorists have argued, oceanic literary studies in South Africa should pay as much attention to routes in the Indian Ocean as to Atlantic routes. The emphasis in both collections on not only a history of slavery, but also one of the displacement of and violence against the people already inhabiting the area when colonisers alighted, further serves to indicate what an Afrikaans black aquatic literature looks like. When taking into account these differences between Afrikaans and other versions of black aquatic art, reading grond/Santekraam and bientang as part of a global black aesthetics allows the researcher to identify the ways in which these collections are characterised by a hermeneutics of suspicion (an interpretation of contemporary life that recognises the ways in which it is structured and functions in anti-black ways) and a hermeneutics of memory (an interpretation of this anti-black contemporary as a continuation of the history of the dehumanisation of black people). 

Paul Gilroy has been a controversial force at the forefront of debates around race, nation, and diaspora. Working across a broad range of disciplines, Gilroy has argued that racial identities are historically constructed, formed by colonization, slavery, nationalist philosophies, and consumer capitalism. Paul Williams introduces Gilroy's key themes and ideas, including: the essential concepts, including ethnic absolutism, civilizationism, postcolonial melancholia, iconization, and the 'black Atlantic' analysis of Gilroy's broad-ranging cultural references, from Edmund Burke to hip-hop a comprehensive overview of Gilroy's influences and the academic debates his work has inspired. Emphasizing the timeliness and global relevance of Gilroy's ideas, this guide will appeal to anyone approaching Gilroy's work for the first time or seeking to further their understanding of race and contemporary culture.

This commentary uses Paul Gilroy’s controversial claim that new technoscientific processes are instituting an ‘end to race’ as a provocation to discuss the epistemological transformation of race in algorithmic culture. We situate Gilroy’s provocation within the context of an abolitionist agenda against racial-thinking, underscoring the relationship between his post-race polemic and a post-visual discourse. We then discuss the challenges of studying race within regimes of computation, which rely on structures that are, for the most part, opaque; in particular, modes of classification that operate through proxies and abstractions and that figure racialized bodies not as single, coherent subjects, but as shifting clusters of data. We argue that in this new regime, race emerges as an epiphenomenon of processes of classifying and sorting – what we call ‘racial formations as data formations’. This discussion is significant because it raises new theoretical, methodological and political questions for scholars of media and critical algorithmic studies. It asks: how are we supposed to think, to identify and to confront race and racialisation when they vanish into algorithmic systems that are beyond our perception? What becomes of racial formations in post-visual regimes?

Saturday Night and Sunday Morning by Alan Sillitoe (1958) and The Lonely Londoners by Samuel Selvon (1956) are significant portraits of post-World War II British life. Given their statements on individualism and self-preservation, they can be read as depictions of the origins of contemporary neoliberalism. Sillitoe's novel follows a main character whose individualist ideology leads him to commit acts of anarchy that are ultimately ineffectual, while Selvon's novel shows the way Black citizens of postwar London were encouraged to abandon collectivity after being held to racist standards of decorum. Together, these two works are important in understanding how today's neoliberal ideology of isolationism began developing during Britain's postwar period, which was characterized by a nation struggling to define itself as powerful despite its waning sphere of influence in global politics.

This book is a record of the Black music culture that emerged in post-colonial London at the end of the twentieth century; the people who made it, the racial and spatial politics of its development and change, and the part it played in founding London's precious, embattled multiculture. It tells the story of the linked Black musical scenes of the city, from ska, reggae and soul in the 1970s, to rare groove and rave in the 1980s and jungle and its offshoots in the 1990s, to dubstep and grime of the 2000s. Melville argues that these demonstrate enough common features to be thought of as one musical culture, an Afro-diasporic continuum. Core to this idea is that this dance culture has been ignored in history and cultural theory and that it should be thought of as a powerful and internationally significant form of popular art.This book is a record of the Black music culture that emerged in post-colonial London at the end of the twentieth century; the people who made it, the racial and spatial politics of its development and change, and the part it played in founding London's precious, embattled multiculture. It tells the story of the linked Black musical scenes of the city, from ska, reggae and soul in the 1970s, to rare groove and rave in the 1980s and jungle and its offshoots in the 1990s, to dubstep and grime of the 2000s. Melville argues that these demonstrate enough common features to be thought of as one musical culture, an Afro-diasporic continuum. Core to this idea is that this dance culture has been ignored in history and cultural theory and that it should be thought of as a powerful and internationally significant form of popular art.

This paper explores the perception of inaccessibility as it reflects the cultural education of the sensorium. Following Gilroy, sensorium is taken here to mean the dense weave of historical experience that organizes the relations among the senses and perception itself. With this concept, I examine texts related to accessibility management at a large Canadian University. These texts include a 2017-18 email exchange regarding accessibility between a subway station and a university building, as well as the first policy statement on 'The University and Accessibility for Disabled Persons' from 1981. Through these texts, I show how people, now as then, are taught to sense disability as excludable. The paper demonstrates how the sensorium is educated to exclude a concern for the history, responsibility, as well as the touch of the actual physical environment. In pursuit of a re-education of the sensorium, this paper reveals how disabled people are sensed as potentially includable in the future while excludable in the present. Keywords: sensorium, perception, access, included as excludable, Paul Gilroy, education

KEYWORDS: Robert Hayden, American literature, Black literature, historiography, Middle Passage, poetry, slave trade The Middle Passage is now the central metonym for life and death in US Black arts and cultural criticism. It was not always so. In the mid-twentieth century, after long being overlooked, the Middle Passage was brought back into public consciousness by academic slave trade studies. Writers turned to this scholarship, I argue, to confront over determined intraracial tensions that arose in the post-civil rights era, transforming the ship's hold into an image of solidarity. To trace this transformation, I analyze poems by Robert Hayden, Primus St. John, and Nathaniel Mackey. Hayden's \"Middle Passage,\" the canonical literary imagining of the event, in fact reveals deep divergences from later Middle Passage poems, stemming from the altered social situation of their composition.

This article interprets Zadie Smith's novel NW (2012) as an attempt to link E. M. Forsters famous dictum \"only connect\" with Paul Gilroy's concept of \"conviviality.\" NW's representation of two friends who are constituted by boundaries of class, race, and ethnicity but who also contest those limits points to the difficulties faced by many contemporary European minorities. In NW, the idea of race collaborates with that of ethnicity and class to form a strongly racialized logic through which the immigrant's upward mobility is subtly yet decisively affected. NW suggests that Gilroy's convivial society is only possible with Forsterian, interpersonal connections. Only after Leah and Natalie, the novels central characters, rekindle their friendship, can they set in motion the novels closing act of justice.

Abstract The lead-up to and the aftermath of the 2016 referendum on the United Kingdom's membership in the European Union have been characterized by particular psychic reactions and affective states: shock, perplexity, anxiety, guilt, paranoia, anger, depression, delusion, and manic elation. The debate over Brexit has played out largely in an affective register. Scholars and journalists in search of explanations have reached for psychological concepts such as amnesia and have cited feelings, specifically nostalgia and anger, as major factors. Paul Gilroy's Postcolonial Melancholia provides a more useful analytical framework for constructing histories of Brexit beyond the usual narratives of reversal, unexpected rupture, or liberation, and for unearthing the psychic attachments and affective dynamics underlying such narratives. Gilroy's conception of postimperial melancholia allows us to see the links between Brexit, anti-immigrant racism, and the obsession with national identity, and the unacknowledged and ongoing legacies of empire and decolonization in contemporary Britain.

The first wave, before Mitchell's Global Noise (2001), includes a wider range of scholarly works such as conference presentations and books written by journalists, in addition to traditional academic sources such as books and journal articles. [...]this bibliography includes a plethora of sources on Hip Hop in France but other parts of Europe do not have the same number of sources. [...]moving forward, my hope is that this bibliography will be a starting point where locations that have scholarly works missing can contribute and the Hip Hop Studies scholarly community can contribute to this bibliography beyond 2019. First Wave 1984 Toop, David. [...]Text 5, no. 13 (1991): 3-16. https:/ / doi.org/10.1080/ 09528829108576284.