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Publish the current version of the website by changing the text few lines below.
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For example, add your name after the line saying: "\_ \_ _ New changes after this _ \_ \_"
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Don't forget to click on "Comit Changes" to commit the changes.
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Don't forget to click on "Commit Changes" to commit the changes.
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- [PREVIEW WEB SITE](https://pages.sandpoints.org/sandpoints/racecriticaltheories-f16ef346/_preview/curriculum/)
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- [PUBLISHED WEB SITE](https://pages.sandpoints.org/sandpoints/racecriticaltheories-f16ef346/curriculum/)
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- [PREVIEW WEB SITE](https://pages.sandpoints.org/sandpoints/racecriticaltheories-f16ef346/_preview/syllabus/racecriticaltheories/)
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- [PUBLISHED WEB SITE](https://pages.sandpoints.org/sandpoints/racecriticaltheories-f16ef346/syllabus/racecriticaltheories/)
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---
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# RaceCriticalTheories
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PREVIEW WEB SITE: https://pages.sandpoints.org/sandpoints/racecriticaltheories-f16ef346/_preview/curriculum/
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The web site preview gets rendered after any change/creation/deletion of any file in a repository.
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PUBLISHED WEB SITE: https://pages.sandpoints.org/sandpoints/racecriticaltheories-f16ef346/curriculum/
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The published web site gets rendered after any change of [PUBLISH.trigger.md](https://git.sandpoints.org/GEMLab/RaceCriticalTheories/src/branch/master/PUBLISH.trigger.md) file in this repository.
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# RaceCriticalTheories
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[PREVIEW WEB SITE](https://pages.sandpoints.org/sandpoints/racecriticaltheories-f16ef346/_preview/syllabus/racecriticaltheories/)
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The web site preview gets rendered after any change/creation/deletion of any file in a repository.
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[PUBLISHED WEB SITE](https://pages.sandpoints.org/sandpoints/racecriticaltheories-f16ef346/syllabus/racecriticaltheories/)
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The published web site gets rendered after any change of [PUBLISH.trigger.mkd](https://git.sandpoints.org/GEMLab/RaceCriticalTheories/src/branch/master/PUBLISH.trigger.mkd) file in this repository.
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isPlainText = true
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mediaType = "application/javascript"
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mediaType = "text/javascript"
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[outputs]
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list = ["html", "js"]
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title: "Race Critical Theories (Print)"
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print: "syllabus/racecriticaltheories.md"
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title: "List of syllabi"
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---
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title: fifth session
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---
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# About Fifth Session
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Some text...
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---
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title: Fifth Syllabus (Test)
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title: Fifth Session (Test)
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---
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# Kino-Cock: The Virility Of *The Man With A Movie Camera*, A Metastudy
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# Kino-Cock: The Virility Of _The Man With A Movie Camera_, A Metastudy
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**by Alexander Carson**
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[Mikhail Kaufman On Train], still from *Man with a Movie Camera*.
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[Mikhail Kaufman On Train], still from _Man with a Movie Camera_.
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<br>
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*(Disclaimer: This article is being used as an example of how to format an article using the backend of the website. The original article is from [Edition 14] of [Synoptique].)*
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_(Disclaimer: This article is being used as an example of how to format an article using the backend of the website. The original article is from [Edition 14] of [Synoptique].)_
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*A sexy reading of Dziga Vertov’s **Man With A Movie Camera** in which the author explores the parallels between the camera eye of the film and the male sex organ.*
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_A sexy reading of Dziga Vertov’s **Man With A Movie Camera** in which the author explores the parallels between the camera eye of the film and the male sex organ._
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*Author’s note: I have chosen to insert youtube clips throughout my analysis—this is, after all, an online journal. **Man With A Movie Camera** has appeared with several different musical scores in recent decades. I have chosen the Cinematic Orchestra version. The reader/viewer should feel free to mute the accompaniment if it seems distracting or undesirable—sound has no bearing on the analysis presented here.*
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_Author’s note: I have chosen to insert youtube clips throughout my analysis—this is, after all, an online journal. **Man With A Movie Camera** has appeared with several different musical scores in recent decades. I have chosen the Cinematic Orchestra version. The reader/viewer should feel free to mute the accompaniment if it seems distracting or undesirable—sound has no bearing on the analysis presented here._
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<br>
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***
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---
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<br>
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Dziga Vertov’s *Man With A Movie Camera* (1929), having recently celebrated its 80th anniversary, is a treasure of Soviet cinema. Of all cinema, really. Vertov’s film is a courageous and formidable work in countless respects, well deserving the popular and academic attention it has received throughout its 80 years. It’s fair to argue that such a film is therefore quite undeserving of the sordid analysis presented here. Alas, that argument awaits my critics, and certain viewers who choose to ignore the barefaced and brazen sexual insinuation coursing through this film. My claim here is to present striking parallels between Vertov’s Camera (potent images of a film Camera appear throughout the film, both with and without a camera operator) and the ubiquitous cock in heterosexual, narrative pornographic film. This study will not be limited to a simple Camera-as-Cock comparison, but will also comprise an analysis of Vertov’s depictions of the Camera Operator’s relationship to his hefty tools of empowerment, capture, and ejaculation (the film Camera and the film Projector) in relation to the (generalized) male pornstar’s reliance on his equally essential tool of sexual triumph—the Cock. But let us not rush to penetration before we have set the mood…
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Dziga Vertov’s _Man With A Movie Camera_ (1929), having recently celebrated its 80th anniversary, is a treasure of Soviet cinema. Of all cinema, really. Vertov’s film is a courageous and formidable work in countless respects, well deserving the popular and academic attention it has received throughout its 80 years. It’s fair to argue that such a film is therefore quite undeserving of the sordid analysis presented here. Alas, that argument awaits my critics, and certain viewers who choose to ignore the barefaced and brazen sexual insinuation coursing through this film. My claim here is to present striking parallels between Vertov’s Camera (potent images of a film Camera appear throughout the film, both with and without a camera operator) and the ubiquitous cock in heterosexual, narrative pornographic film. This study will not be limited to a simple Camera-as-Cock comparison, but will also comprise an analysis of Vertov’s depictions of the Camera Operator’s relationship to his hefty tools of empowerment, capture, and ejaculation (the film Camera and the film Projector) in relation to the (generalized) male pornstar’s reliance on his equally essential tool of sexual triumph—the Cock. But let us not rush to penetration before we have set the mood…
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Dziga Vertov was a racy figure, both socially and politically; his artistic body of work served principally to advance his contentious ideals. [^1] As a teenager, he began writing extensively on the subject of cinema; his poems and manifestos were remarkably confident and sometimes virulent. He unequivocally despised traditional narrative filmmaking and sought to establish a cinematic language independent of literature and theatre (as proclaimed most succinctly in the opening titles of Man With a Movie Camera). An account of Vertov’s writings and contemporary critical responses to his work are found in Yuri Tsivian’s Lines of Resistance, skillfully tracking Vertov’s career through the 1920’s as he built toward realizing Man With A Movie Camera, the pinnacle of his artistic and critical success.
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@ -38,33 +36,35 @@ Before leaping into an analysis of Vertov’s chef-d’oeuvre, it is worth notin
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Though much of Man with a Movie Camera’s blatant sexual impulsiveness is not until much later on, an early sequence foreshadows it all quite palpably. A mere 10 minutes into the film we see a young woman rise from bed, put her stockings on, and turn away from the camera while removing her nightgown. In close-up, the camera studies her back as her hands reach around to fasten a brassiere. Cutting back to a wider shot, we see the woman standing only in her underclothes and stockings before she pulls on a slip. Vertov immediately cuts away to a close-up of the Movie Camera as a man’s hands hastily remove a short, wide-angle lens, and replace it with a markedly longer, telephoto one. This erection is quite pronounced, and indeed well warranted! Showing a woman dressing is more seemly and less lurid than showing a woman undressing, but is it any less sexy?
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## “Part 2” of *Man With a Movie Camera*
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## “Part 2” of _Man With a Movie Camera_
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This section covers roughly minutes 9-19 of the complete film:
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> <iframe width="560" height="315" src="https://www.youtube.com/embed/u2RKlDFmui4" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
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>
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> *[Man With a Movie Camera, Part 2] (~9m 00 to 19m 00).*
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>
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> _[Man With a Movie Camera, Part 2] (~9m 00 to 19m 00)._
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Nearly 21 minutes in, a sequence commences featuring the Camera Operator (presumably Mikhail Kaufman, Vertov’s younger brother and principal cameraman during this time) perched dangerously atop a moving car as he photographs the passengers in nearby horse-drawn carriages. The Cameraman furiously cranks his camera, propelling it into action, obsessively capturing the images before him. His gestures are explicitly masturbatory—the Camera is manically tugged upon (dziga, dziga, dziga…) as the operator hunches over his tool of capture, power, and domination. When a lady passenger mimics the crude crank-gesturing back at the Cameraman, is he embarrassed or intimidated? No, for he is in control! It is clear that Vertov’s technique is beyond mere voyeurism. There is nothing covert about his Cameraman’s imposition on his subjects. His camera has empowered him to subjugate them in a way. Vertov presents a series of images as still frames immediately following the precarious carriage sequence—these images of carriage passengers are held for several seconds each (including one frightfully unattractive portrait of the indignant gesturing woman), exemplifying the filmmaker’s power. Having tagged and dominated these subjects with his Kino-tool, their images have become his captives. It is now the filmmaker’s privilege to exhibit them as he fancies!
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## “Part 3” of *Man With a Movie Camera*
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This section covers roughly minutes 20-29 of the complete film:
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## “Part 3” of _Man With a Movie Camera_
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This section covers roughly minutes 20-29 of the complete film:
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> <iframe width="560" height="315" src="https://www.youtube.com/embed/u2RKlDFmui4" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
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>
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> *[Man With a Movie Camera, Part 3] (~20m 00 to 29m 00).*
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> _[Man With a Movie Camera, Part 3] (~20m 00 to 29m 00)._
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Vertov’s ardent belief in the synthesis between humanity and technology pervaded every aspect of his work. “We: Variant of a Manifesto,” written in 1922, boldly proclaims: “Our path leads through the poetry of machines, from the bungling citizen to the perfect electric man,” [^3] precisely heralding the mechanical super-humanity he would present in Man with a Movie Camera, several years later. In Hard Core, Linda Williams’ seminal study of pornography, she describes A Country Stud Horse (1920), an early American stag film where a man stands at a mutoscope with his face pressed against the viewing interface to watch a striptease. [^4] Cutting directly to closeups of the stripper’s naked body, the film privileges the viewer with a sort of super-human sight, offering closer views than would be realistically available to the man at the mutoscope. The film repeatedly cuts back to reveal the male voyeur manually propelling the crank-powered mutoscope with one hand while masturbating with the other. This early example of human sexuality being bolstered by a cine-mechanical aid points directly toward Vertov’s vision of an improved human experience through technological innovation.
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Vertov’s goal to actually see the world better through cinema can be easily interpreted as a manifestation of what Michel Foucault calls scientia sexualis, humanity’s basic impulse to detail an increasingly scientific understanding of sexuality. [^5] “I am kino-eye, I am a mechanical eye. I, a machine, show you the world as only I can see it,” writes Vertov in 1923. [^6] Though he does not actually delve into pornography in any way, his efforts convey the same will to knowledge/power that motivate our scientia sexualis—he maps the modern city with the same care and passion he devotes to the study of a woman dressing in the morning. His project assumes what Linda Williams defines as the principle of maximum visibility: a compulsive desire to show all, to find the best formal techniques and applications to explore one’s subject. [^7] Vertov certainly shares this fundamental compulsion that is so essential to hard-core narrative pornography—his desire to explore the mechanisms of modern city-living is the same impulse that motivates the pornographer to find the best way to represent genitalia, intercourse, and drives his impossible quest to depict actual consummation, the most life-affirming, yet visually elusive moment of all.
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## “Part 7” of *Man With a Movie Camera*
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This section covers roughly minutes 50-59 of the complete film:
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## “Part 7” of _Man With a Movie Camera_
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This section covers roughly minutes 50-59 of the complete film:
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> <iframe width="560" height="315" src="https://www.youtube.com/embed/L8HiRQjEhF4" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
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>
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> *[Man With a Movie Camera, Part 7] (~50m 00 to 59m 00).*
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> _[Man With a Movie Camera, Part 7] (~50m 00 to 59m 00)._
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Beginning 25 minutes in, and continuing with much more prowess later on, we see the Camera appearing to act independently. Perched high above a busy city intersection, the camera pans (seemingly of its own accord) across the scene, glaring down upon its subjects. At 55 minutes, we see the Camera and Camera Operator superimposed upon the skyline of the city, towering above it, surveying the fiefdom that cowers beneath them. A few minutes later, depicted through the skilful application of stop-motion photography, the Camera (now appearing without its Operator) leaps from its case onto the tripod mount and begins to dance around. Clearly, the Camera itself is the film’s star, the truly principal figure. Despite this cheeky bit of animation, the viewer understands that the Camera is merely an appendage of its Operator; and yet, this tool is indispensable, as the Cock is to the Cocksman in pornography.
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Mark how the fevered pace of Vertov’s montage responds to the increased intensity of the hand-cranking Cameraman as the film builds toward this climax! The quick succession of shots is itself orgasmic, as charging trains intercut with floods of micro pedestrians gushing through the streets! Each image itself a blast of semen! Each exploding upon the last, raging toward sheer ecstasy and complete satisfaction! This climax, this ultimate act of sublimation is a pure celebration of cinema! Each shot an affirmation of life, each blast a little gob of humanity! Cinema itself is bursting, ejaculating the cities of Eastern Europe upon the crowd! Oh, the spoils of the filmmaker! The—oh, Oh—OH! OH FUCK! Oh.
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## “Part 8” of *Man With a Movie Camera*
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This section covers roughly minutes 60-68 of the complete film:
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## “Part 8” of _Man With a Movie Camera_
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This section covers roughly minutes 60-68 of the complete film:
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> <iframe width="560" height="315" src="https://www.youtube.com/embed/2sON2MxgFnE" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
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>
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> *[Man With a Movie Camera, Part 7](https://www.youtube.com/watch?v=2sON2MxgFnE) (~60m 00 to 68m 00).*
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>
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> _[Man With a Movie Camera, Part 7](https://www.youtube.com/watch?v=2sON2MxgFnE) (~60m 00 to 68m 00)._
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<br>
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***
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---
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<br>
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@ -92,63 +92,56 @@ Alexander Carson is a narrative artist, filmmaker, and occasional scholar. Some
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[Contact the Author](mailto:youremailaddress@goooogle.com)
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*Edited by Lindsey Campbell*
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_Edited by Lindsey Campbell_
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<br>
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***
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---
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<br>
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# Bibliography
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Foucault, Michel. *The History of Sexuality. Vol. 1: An Introduction.* Translated by Robert Hurley. New York: Pantheon Books, 1978.
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Foucault, Michel. _The History of Sexuality. Vol. 1: An Introduction._ Translated by Robert Hurley. New York: Pantheon Books, 1978.
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Michelson, Annette. *Kino-Eye.* Berkeley: University of California Press, 1984.
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Michelson, Annette. _Kino-Eye._ Berkeley: University of California Press, 1984.
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Tsivian, Yuri. *Lines of Resistance: Dziga Vertov and the Twenties.* Germona: Le Giornate del Cinema Muto, 2004.
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Tsivian, Yuri. _Lines of Resistance: Dziga Vertov and the Twenties._ Germona: Le Giornate del Cinema Muto, 2004.
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Williams, Linda. *Hard Core: Power, Pleasure, and the “Frenzy of the Visible”.* Berkeley: University of California Press, 1989.
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Williams, Linda. _Hard Core: Power, Pleasure, and the “Frenzy of the Visible”._ Berkeley: University of California Press, 1989.
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<br>
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***
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---
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<br>
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# Filmography
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*Man With A Movie Camera* (Dziga Vertov, 1929)
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_Man With A Movie Camera_ (Dziga Vertov, 1929)
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<br>
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***
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---
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<br>
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# Footnotes
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[^1]: Tsivian, Yuri. *Lines of Resistance* (p.5-14). In his introduction, Tsivian provides a concise account of Vertov’s ideologies and prinicipal grievances, including his feuds with popular Marxist thinkers and publishers, as well as celebrated Soviet filmmaker Sergei Eisenstein.
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[^1]: Tsivian, Yuri. _Lines of Resistance_ (p.5-14). In his introduction, Tsivian provides a concise account of Vertov’s ideologies and prinicipal grievances, including his feuds with popular Marxist thinkers and publishers, as well as celebrated Soviet filmmaker Sergei Eisenstein.
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[^2]: Michelson, Annette. _Kino-Eye_ (p. xviii)
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[^3]: Vertov, Dziga. “We: A Variant Manifesto” reproduced in _Kino-Eye_ ed. Annette Michelson, (p8).
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[^4]: Williams, Linda. _Hard Core…_ (p78-79).
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[^5]: Foucault, Michel. _The History of Sexuality_ (p51-73)
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[^6]: Vertov, Dziga. “Kinocs: A Revolution” reproduced in _Kino-Eye_ ed. Annette Michelson (p.17)
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[^7]: Williams, Linda. _Hard Core_ (p.48-49)
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[^8]: This irony was not missed by Soviet film critics at the time. See: Tsivian, Yuri. _Lines of Resistance_. (p.321-346)
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[^2]: Michelson, Annette. *Kino-Eye* (p. xviii)
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[^3]: Vertov, Dziga. “We: A Variant Manifesto” reproduced in *Kino-Eye* ed. Annette Michelson, (p8).
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[^4]: Williams, Linda. *Hard Core…* (p78-79).
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[^5]: Foucault, Michel. *The History of Sexuality* (p51-73)
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[^6]: Vertov, Dziga. “Kinocs: A Revolution” reproduced in *Kino-Eye* ed. Annette Michelson (p.17)
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[^7]: Williams, Linda. *Hard Core* (p.48-49)
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[^8]: This irony was not missed by Soviet film critics at the time. See: Tsivian, Yuri. *Lines of Resistance*. (p.321-346)
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[Man With A Movie Camera, Part 2]: https://www.youtube.com/watch?v=AeKKeiXTBos
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[Man With a Movie Camera, Part 3]: https://www.youtube.com/watch?v=u2RKlDFmui4
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[Man With a Movie Camera, Part 7]: https://www.youtube.com/watch?v=L8HiRQjEhF4
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[Man With a Movie Camera, Part 7]: https://www.youtube.com/watch?v=2sON2MxgFnE
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[Edition 14]: https://www.synoptique.ca/edition-14
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[Synoptique]: https://www.synoptique.ca/
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[North Country Cinema]: http://www.northcountrycinema.com
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[Mikhail Kaufman On Train]: https://commons.wikimedia.org/wiki/File:Mikhail_kaufman_on_train.jpg#/media/File:Mikhail_kaufman_on_train.jpg
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[man with a movie camera, part 2]: https://www.youtube.com/watch?v=AeKKeiXTBos
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[man with a movie camera, part 3]: https://www.youtube.com/watch?v=u2RKlDFmui4
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[man with a movie camera, part 7]: https://www.youtube.com/watch?v=L8HiRQjEhF4
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[man with a movie camera, part 7]: https://www.youtube.com/watch?v=2sON2MxgFnE
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[edition 14]: https://www.synoptique.ca/edition-14
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[synoptique]: https://www.synoptique.ca/
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[north country cinema]: http://www.northcountrycinema.com
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[mikhail kaufman on train]: https://commons.wikimedia.org/wiki/File:Mikhail_kaufman_on_train.jpg#/media/File:Mikhail_kaufman_on_train.jpg
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@ -1,43 +1,43 @@
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---
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title: First syllabus inside a topic inside a curriculum
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title: First session inside a topic inside a syllabus
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---
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# First syllabus
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# First session
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This should work more as an example than anything else. But one could edit and play with it...
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## Kino-Cock: The Virility Of The Man With A Movie Camera, A Metastudy
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||||
Alexander Carson
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||||
(Disclaimer: This article is being used as an example of how to format an article using the backend of the site. The original article is from Edition 14 of Synoptique.)
|
||||
|
||||
A sexy reading of *Dziga Vertov’s* ***Man With A Movie Camera*** in which the author explores the parallels between the camera eye of the film and the male sex organ.
|
||||
A sexy reading of _Dziga Vertov’s_ **_Man With A Movie Camera_** in which the author explores the parallels between the camera eye of the film and the male sex organ.
|
||||
|
||||
Author’s note: I have chosen to insert youtube clips throughout my analysis—this is, after all, an online journal. Man With A Movie Camera has appeared with several different musical scores in recent decades. I have chosen the Cinematic Orchestra version. The reader/viewer should feel free to mute the accompaniment if it seems distracting or undesirable—sound has no bearing on the analysis presented here Extra Text.
|
||||
|
||||
<br>
|
||||
|
||||
***
|
||||
---
|
||||
|
||||
<br>
|
||||
|
||||
| Table Header 1 | Title Header 2 | Title Header 3 |
|
||||
| :------------- | -------------: | :------------: |
|
||||
| Table Header 1 | Title Header 2 | Title Header 3 |
|
||||
| :------------------ | ------------------: | :-----------------: |
|
||||
| Row Content A1 ffff | Row Content B1 ffff | Row Content B1 ffff |
|
||||
| Row Content A2 | Row Content B2 | Row Content B2 |
|
||||
| Row Content A2 | Row Content B2 | Row Content B2 |
|
||||
|
||||
|
||||
> Odessa
|
||||
>
|
||||
>
|
||||
> The Steps
|
||||
>
|
||||
>
|
||||
> Manifesto
|
||||
>
|
||||
>
|
||||
> Word
|
||||
>
|
||||
>
|
||||
> Dziga
|
||||
>
|
||||
>> Test
|
||||
>
|
||||
> > Test
|
||||
|
||||
Dziga Vertov’s Man With A Movie Camera (1929), having recently celebrated its 80th anniversary, is a treasure of Soviet cinema. Of all cinema, really. Vertov’s film is a courageous and formidable work in countless respects, well deserving the popular and academic attention it has received throughout its 80 years. It’s fair to argue that such a film is therefore quite undeserving of the sordid analysis presented here. Alas, that argument awaits my critics, and certain viewers who choose to ignore the barefaced and brazen sexual insinuation coursing through this film. My claim here is to present striking parallels between Vertov’s Camera (potent images of a film Camera appear throughout the film, both with and without a camera operator) and the ubiquitous cock in heterosexual, narrative pornographic film. This study will not be limited to a simple Camera-as-Cock comparison, but will also comprise an analysis of Vertov’s depictions of the Camera Operator’s relationship to his hefty tools of empowerment, capture, and ejaculation (the film Camera and the film Projector) in relation to the (generalized) male pornstar’s reliance on his equally essential tool of sexual triumph—the Cock. But let us not rush to penetration before we have set the mood…
|
||||
|
||||
|
|
@ -73,8 +73,6 @@ Mark how the fevered pace of Vertov’s montage responds to the increased intens
|
|||
“Part 8” of Man With A Movie Camera
|
||||
This section covers roughly minutes 60-68 of the complete film: https://www.youtube.com/watch?v=2sON2MxgFnE
|
||||
|
||||
|
||||
|
||||
Footnotes
|
||||
|
||||
[^1]: Tsivian, Yuri. Lines of Resistance (p.5-14). In his introduction, Tsivian provides a concise account of Vertov’s ideologies and prinicipal grievances, including his feuds with popular Marxist thinkers and publishers, as well as celebrated Soviet filmmaker Sergei Eisenstein.
|
||||
|
|
@ -107,10 +105,6 @@ Filmography
|
|||
|
||||
Man With A Movie Camera (Dziga Vertov, 1929)
|
||||
|
||||
|
||||
Alexander Carson is a narrative artist, filmmaker, and occasional scholar. Some of his work can be seen at “North Country Cinema”: http://www.northcountrycinema.com
|
||||
|
||||
|
||||
|
||||
Edited by Lindsey Campbell
|
||||
|
||||
|
|
@ -1,47 +1,51 @@
|
|||
---
|
||||
title: Fourth syllabus inside a second topic inside a curriculum
|
||||
title: Fourth session inside a second topic inside a syllabus
|
||||
---
|
||||
|
||||
# Fourth syllabus
|
||||
# Fourth session
|
||||
|
||||
This is just an example more so than anything else. But one could edit and play with it to get a hang of things...
|
||||
|
||||
|
||||
## First Section
|
||||
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Praesent ac condimentum mi. Nunc at tellus mollis, aliquam ex et, consectetur enim. Vestibulum in venenatis eros.
|
||||
|
||||
***
|
||||
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Praesent ac condimentum mi. Nunc at tellus mollis, aliquam ex et, consectetur enim. Vestibulum in venenatis eros.
|
||||
|
||||
Sed tincidunt ante dui, et tempus mi ullamcorper vel. Vivamus volutpat auctor diam sed tempus. Etiam elementum dui quis dolor elementum imperdiet. Nulla purus nisl, ullamcorper vel dictum sed, auctor vel felis. Curabitur condimentum urna feugiat libero sagittis dignissim. *Nullam ut augue eget nunc venenatis cursus et sed metus. Integer sodales, mi eget ultrices elementum, risus eros pharetra sem, non dapibus tortor velit vel lacus.*
|
||||
---
|
||||
|
||||
Google, __"A Random Table for a Test."__ [^1]
|
||||
Sed tincidunt ante dui, et tempus mi ullamcorper vel. Vivamus volutpat auctor diam sed tempus. Etiam elementum dui quis dolor elementum imperdiet. Nulla purus nisl, ullamcorper vel dictum sed, auctor vel felis. Curabitur condimentum urna feugiat libero sagittis dignissim. _Nullam ut augue eget nunc venenatis cursus et sed metus. Integer sodales, mi eget ultrices elementum, risus eros pharetra sem, non dapibus tortor velit vel lacus._
|
||||
|
||||
| Table Topic 1 | Table Topic 2 |
|
||||
| :--- | :--- |
|
||||
| Row 1 | Spike Lee |
|
||||
| Row 2 | Ava DuVernay |
|
||||
| Row 3 | Kasi Lemons |
|
||||
| Row 4 | Ryan Coogler |
|
||||
| Row 5 | Barry Jenkins |
|
||||
| Row 6 | Jordan Peele |
|
||||
Google, **"A Random Table for a Test."** [^1]
|
||||
|
||||
| Table Topic 1 | Table Topic 2 |
|
||||
| :------------ | :------------ |
|
||||
| Row 1 | Spike Lee |
|
||||
| Row 2 | Ava DuVernay |
|
||||
| Row 3 | Kasi Lemons |
|
||||
| Row 4 | Ryan Coogler |
|
||||
| Row 5 | Barry Jenkins |
|
||||
| Row 6 | Jordan Peele |
|
||||
|
||||
<br>
|
||||
|
||||
## Second Section
|
||||
|
||||
Aenean quis sem sed risus sollicitudin elementum nec non augue.
|
||||
Donec viverra, nisl vitae blandit porttitor, ipsum lacus faucibus lectus, vitae accumsan erat est sed felis. Curabitur iaculis mollis nunc quis efficitur. Integer quis bibendum tortor, in aliquet nisi. Sed vulputate iaculis ex, nec ultrices augue vestibulum at. Fusce id nunc non velit facilisis egestas ac vel tellus. Donec sagittis vel dolor ut sodales. Mauris tortor elit, ultricies a ligula et, facilisis aliquam sapien. Vivamus feugiat enim a ex dignissim ultricies. Nulla finibus purus vitae lacus pellentesque, ac laoreet urna rutrum. Praesent id consectetur leo.
|
||||
- Vivamus elit risus, pulvinar tincidunt vulputate nec, porta in augue.
|
||||
- Sed quis erat nunc. Etiam sollicitudin mollis libero, et imperdiet ex commodo eu.
|
||||
- Nam faucibus ultrices interdum. Mauris vitae nisl consequat nunc tincidunt sagittis at vel odio.
|
||||
- Nam vitae mollis nibh. Aenean non risus eleifend, suscipit massa in, rhoncus sem.
|
||||
- Proin nisl metus, laoreet eget efficitur ut, dignissim ut ex. [^2]
|
||||
- Donec bibendum, ante tincidunt ultricies gravida, nibh justo condimentum orci, a tristique ipsum mi sit amet dolor.
|
||||
- Suspendisse volutpat non arcu a rhoncus.
|
||||
|
||||
- Vivamus elit risus, pulvinar tincidunt vulputate nec, porta in augue.
|
||||
- Sed quis erat nunc. Etiam sollicitudin mollis libero, et imperdiet ex commodo eu.
|
||||
- Nam faucibus ultrices interdum. Mauris vitae nisl consequat nunc tincidunt sagittis at vel odio.
|
||||
- Nam vitae mollis nibh. Aenean non risus eleifend, suscipit massa in, rhoncus sem.
|
||||
- Proin nisl metus, laoreet eget efficitur ut, dignissim ut ex. [^2]
|
||||
- Donec bibendum, ante tincidunt ultricies gravida, nibh justo condimentum orci, a tristique ipsum mi sit amet dolor.
|
||||
- Suspendisse volutpat non arcu a rhoncus.
|
||||
|
||||
### Tangent to Second Section
|
||||
Suspendisse sagittis, ipsum eget blandit luctus, purus diam porttitor dui, a bibendum odio tortor a ligula. Nullam maximus, nibh nec posuere bibendum, eros metus bibendum massa, ac porttitor nisl risus vel tortor. Praesent feugiat pulvinar pretium. Integer ac mi tempus, suscipit nisl non, venenatis erat. Aliquam dapibus pretium viverra. Ut erat eros, efficitur eget tempor eu, feugiat vel mauris. Maecenas sodales, nunc blandit ultricies dictum, nibh urna ultricies neque, vel auctor nibh felis eget ante. Sed placerat diam vel luctus tristique. Morbi commodo in lectus et eleifend. Phasellus metus orci, accumsan id tempor nec, ullamcorper a elit. Vestibulum suscipit augue dolor, non fringilla nunc viverra id. Quisque eu pellentesque neque. Praesent eleifend nulla eget enim imperdiet bibendum. Sed eros velit, blandit nec egestas non, euismod sed ligula.
|
||||
|
||||
Suspendisse sagittis, ipsum eget blandit luctus, purus diam porttitor dui, a bibendum odio tortor a ligula. Nullam maximus, nibh nec posuere bibendum, eros metus bibendum massa, ac porttitor nisl risus vel tortor. Praesent feugiat pulvinar pretium. Integer ac mi tempus, suscipit nisl non, venenatis erat. Aliquam dapibus pretium viverra. Ut erat eros, efficitur eget tempor eu, feugiat vel mauris. Maecenas sodales, nunc blandit ultricies dictum, nibh urna ultricies neque, vel auctor nibh felis eget ante. Sed placerat diam vel luctus tristique. Morbi commodo in lectus et eleifend. Phasellus metus orci, accumsan id tempor nec, ullamcorper a elit. Vestibulum suscipit augue dolor, non fringilla nunc viverra id. Quisque eu pellentesque neque. Praesent eleifend nulla eget enim imperdiet bibendum. Sed eros velit, blandit nec egestas non, euismod sed ligula.
|
||||
|
||||
1. Phasellus dictum massa sit amet arcu pulvinar.
|
||||
1. a aliquet metus cursus.
|
||||
1. a aliquet metus cursus.
|
||||
1. Mauris vitae ipsum accumsan.
|
||||
1. convallis risus et.
|
||||
1. malesuada arcu.
|
||||
|
|
@ -50,10 +54,10 @@ Urabitur condimentum urna feugiat libero sagittis dignissim.
|
|||
|
||||
1. Sed eleifend tincidunt dolor, non laoreet arcu hendrerit at. Mauris eu nunc in lacus rutrum imperdiet tempor in purus.
|
||||
2. Duis ut sagittis arcu. Ut tincidunt, felis sit amet eleifend vulputate, magna metus lobortis purus, ut blandit orci nisl vel elit.
|
||||
1. Sed arcu lacus, gravida at augue eu, eleifend luctus est.
|
||||
|
||||
1. Sed arcu lacus, gravida at augue eu, eleifend luctus est.
|
||||
|
||||
## Third Section
|
||||
|
||||
Nullam velit ligula, dignissim ut iaculis id, malesuada sed metus. Duis porta nec libero ac ornare. Proin ut viverra diam. Aliquam sodales quam eu pharetra tempor. Quisque vel vehicula diam. Mauris ultrices aliquet erat eget luctus. Nunc faucibus efficitur ipsum id convallis. Integer sollicitudin et lacus vel ultrices. Pellentesque maximus vehicula cursus. Orci varius natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Quisque ut lorem mauris. Aenean euismod venenatis ante eu aliquam. Suspendisse erat purus, iaculis sed tincidunt eget, scelerisque vitae dolor. Proin sed fermentum libero. Interdum et malesuada fames ac ante ipsum primis in faucibus. Nulla facilisi.
|
||||
|
||||
[Example Link](https://www.example.com) , this is an inline link.
|
||||
|
|
@ -65,41 +69,45 @@ Lorem ipsum dolor sit amet,[Example Website], consectetur adipiscing elit. (That
|
|||
, an example of an internal link.
|
||||
|
||||
### Tangent to Third Section
|
||||
|
||||
Integer lacinia et turpis ut ultricies. Suspendisse potenti. Nullam fringilla tempus ipsum at scelerisque. Praesent elementum arcu lacus, vitae ullamcorper metus accumsan iaculis. Suspendisse vulputate posuere tincidunt. Sed tempus nunc purus, ac cursus magna interdum vitae. Nam justo nisi, condimentum eu rhoncus at, tempus vitae enim. Donec vitae nibh semper lorem ullamcorper tincidunt. Morbi scelerisque metus neque, eget mollis justo ultrices et. Nunc lorem ligula, molestie a egestas ut, sollicitudin maximus mauris. Nam euismod vehicula augue, eu dignissim erat mollis gravida. Sed tristique et urna eu maximus. Donec euismod ex eleifend facilisis rutrum. <sup>1<sup>2</sup></sup>
|
||||
|
||||
An image with a constrained size (100px)
|
||||
<div style="max-width:100px"><img src="https://miro.medium.com/max/700/1*uAp4K4IuVOaJp6v4B99KSQ.jpeg"></div>
|
||||
|
||||
<div style="max-width:100px"><img src="https://miro.medium.com/max/700/1*uAp4K4IuVOaJp6v4B99KSQ.jpeg"></div>
|
||||
|
||||
An image without constraints (Over 800px)
|
||||
<a href="https://miro.medium.com/max/700/1*uAp4K4IuVOaJp6v4B99KSQ.jpeg">
|
||||
<img src="https://miro.medium.com/max/700/1*uAp4K4IuVOaJp6v4B99KSQ.jpeg">
|
||||
<img src="https://miro.medium.com/max/700/1*uAp4K4IuVOaJp6v4B99KSQ.jpeg">
|
||||
</a>
|
||||
|
||||
Source: Lorem Ipsum [^3]
|
||||
|
||||
## Fourth Section
|
||||
|
||||
Vivamus elit risus, pulvinar tincidunt vulputate nec, porta in augue. Sed quis erat nunc. Etiam sollicitudin mollis libero, et imperdiet ex commodo eu. Nam faucibus ultrices interdum. Mauris vitae nisl consequat nunc tincidunt sagittis at vel odio. Nam vitae mollis nibh. Aenean non risus eleifend, suscipit massa in, rhoncus sem. Proin nisl metus, laoreet eget efficitur ut, dignissim ut ex. Donec bibendum, ante tincidunt ultricies gravida, nibh justo condimentum orci, a tristique ipsum mi sit amet dolor. Suspendisse volutpat non arcu a rhoncus.[^4]
|
||||
|
||||
<br>
|
||||
|
||||
### Tangent to Fourth Section
|
||||
Mauris eget eros sit amet quam fringilla posuere vehicula at velit. Vivamus tristique enim suscipit, tristique eros ac, molestie mauris. Nulla vitae enim eget metus commodo fermentum. Morbi auctor mattis efficitur.
|
||||
|
||||
> Morbi congue, tellus sed vehicula dignissim, elit tortor venenatis felis, ut rhoncus nisl magna quis orci.
|
||||
>> Etiam pellentesque eleifend tincidunt.
|
||||
Mauris eget eros sit amet quam fringilla posuere vehicula at velit. Vivamus tristique enim suscipit, tristique eros ac, molestie mauris. Nulla vitae enim eget metus commodo fermentum. Morbi auctor mattis efficitur.
|
||||
|
||||
> Morbi congue, tellus sed vehicula dignissim, elit tortor venenatis felis, ut rhoncus nisl magna quis orci.
|
||||
>
|
||||
> > Etiam pellentesque eleifend tincidunt.
|
||||
|
||||
Duis consequat dictum elit, ut rutrum justo lobortis sed. Aliquam erat volutpat.[^5]
|
||||
|
||||
Global Emergent Media Lab, __"Black Political Making"__ Online Talk Documentation [^6]
|
||||
Global Emergent Media Lab, **"Black Political Making"** Online Talk Documentation [^6]
|
||||
|
||||
<figure class="video_container">
|
||||
<iframe src="https://player.vimeo.com/video/535294266" width="640" height="564" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe>
|
||||
</figure>
|
||||
|
||||
|
||||
## Conclusion
|
||||
Sed eleifend tincidunt dolor, non laoreet arcu hendrerit at. Mauris eu nunc in lacus rutrum imperdiet tempor in purus. Duis ut sagittis arcu. Ut tincidunt, felis sit amet eleifend vulputate, magna metus lobortis purus, ut blandit orci nisl vel elit. Aenean ante ante, fermentum ac velit eget, commodo placerat sem. Cras et accumsan urna. Interdum et malesuada fames ac ante ipsum primis in faucibus. In ut placerat nunc. Donec malesuada faucibus velit sed lacinia. [^7] Sed arcu lacus, gravida at augue eu, eleifend luctus est. Duis mauris nibh, lobortis sit amet ipsum sit amet, dictum viverra arcu. In hac habitasse platea dictumst. Suspendisse quis dapibus odio.
|
||||
|
||||
Sed eleifend tincidunt dolor, non laoreet arcu hendrerit at. Mauris eu nunc in lacus rutrum imperdiet tempor in purus. Duis ut sagittis arcu. Ut tincidunt, felis sit amet eleifend vulputate, magna metus lobortis purus, ut blandit orci nisl vel elit. Aenean ante ante, fermentum ac velit eget, commodo placerat sem. Cras et accumsan urna. Interdum et malesuada fames ac ante ipsum primis in faucibus. In ut placerat nunc. Donec malesuada faucibus velit sed lacinia. [^7] Sed arcu lacus, gravida at augue eu, eleifend luctus est. Duis mauris nibh, lobortis sit amet ipsum sit amet, dictum viverra arcu. In hac habitasse platea dictumst. Suspendisse quis dapibus odio.
|
||||
|
||||
I want this line to have a hard return before the next line.
|
||||
|
||||
|
|
@ -111,19 +119,24 @@ This is an example of a soft return.
|
|||
It’s very tightly spaced.
|
||||
|
||||
# Footnotes
|
||||
|
||||
[^1]: Sed eleifend tincidunt dolor, non laoreet arcu hendrerit at. Mauris eu nunc in lacus rutrum imperdiet tempor in purus.
|
||||
[^2]: [Hey it's google](https://www.google.com)
|
||||
<br><br>This is a test to see if a paragraph break can exist in a footnote.
|
||||
[^2]:
|
||||
[Hey it's google](https://www.google.com)
|
||||
<br><br>This is a test to see if a paragraph break can exist in a footnote.
|
||||
|
||||
[^3]: Image of code as depicted in _The Matrix_(1990).
|
||||
[^4]: Aenean ante ante, fermentum ac velit eget, commodo placerat sem. Cras et accumsan urna. 
|
||||
[^5]: Donec malesuada faucibus velit sed lacinia. Sed arcu lacus, gravida at augue eu, eleifend luctus est.
|
||||
|
||||
| Table Header 1 | Table Header 2 |
|
||||
| :------------- | :------------: |
|
||||
|Row content A1 | Row Content B1 |
|
||||
|Row content A2 | Row Content B2 |
|
||||
[^6]: Duis mauris nibh, lobortis sit amet ipsum sit amet, dictum viverra arcu.
|
||||
| Row content A1 | Row Content B1 |
|
||||
| Row content A2 | Row Content B2 |
|
||||
|
||||
[^6]: Duis mauris nibh, lobortis sit amet ipsum sit amet, dictum viverra arcu.
|
||||
[^7]: In hac habitasse platea dictumst. Suspendisse quis dapibus odio. <br>
|
||||
|
||||
[Example Website]:https://www.google.com "Link Text to be Displayed"
|
||||
[example website]: https://www.google.com "Link Text to be Displayed"
|
||||
[1]: https://i.stack.imgur.com/wPW28.png
|
||||
[2]: https://meta.stackoverflow.com/users/44330/jason-s
|
||||
|
|
@ -1,10 +1,7 @@
|
|||
---
|
||||
title: Second syllabus inside a topic inside a curriculum
|
||||
title: Second session inside a topic inside a syllabus
|
||||
---
|
||||
|
||||
# Second syllabus
|
||||
# Second session
|
||||
|
||||
This should work more as an example than anything else. But one could edit and play with it...
|
||||
|
||||
|
||||
|
||||
|
|
@ -1,8 +1,7 @@
|
|||
---
|
||||
title: Third syllabus inside a second topic inside a curriculum
|
||||
title: Third session inside a second topic inside a syllabus
|
||||
---
|
||||
|
||||
# Third syllabus
|
||||
# Third session
|
||||
|
||||
This should work more as an example than anything else. But one could edit and play with it...
|
||||
|
||||
|
|
@ -1,3 +0,0 @@
|
|||
---
|
||||
title: "List of syllabi"
|
||||
---
|
||||
|
|
@ -1,4 +0,0 @@
|
|||
---
|
||||
title: fifth syllabus
|
||||
---
|
||||
|
||||
|
|
@ -1,13 +1,13 @@
|
|||
---
|
||||
title: 'Introduction: Race Critical Theories'
|
||||
has_syllabi: ["firstsyllabus.md", "secondsyllabus.md"]
|
||||
title: "Introduction: Race Critical Theories"
|
||||
has_sessions: ["firstsession.md", "secondsession.md"]
|
||||
---
|
||||
|
||||
# Introduction: Race Critical Theories
|
||||
|
||||
The RCT project emerges from the rhizomatic dis/junctures of race, politics, and capital engendered and cultivated through the multispectral mapping of slavery and settler-colonialism upon local, global, and transnational structures of world-building. Accordingly, the multi-situated nature of this project’s network engages the dynamic temporalities and distinct assemblages of race, racism, and racialization (with)in/through/across geopolitical contexts. An extension and reflection of the historical, (supra/inter)national, and institutional frameworks of this project’s focus and production, the RCT network is invested in actualizing the productive discomfort of contemporary racial polemics beyond decentralization alone. Solidarity in difference. The RCT project is hosted at Concordia University in Tiohtià:ke/Montréal, in what is now known as the Canadian province of Québec. Originally inhabited by the Ten First Nations (Abenaki, Algonquin, Atikamekw, Cree, Huron-Wendat, Innu, Kanien’kehá:ka, Malecites, Mi'kmaq and Naskapi) as well as Inuit communities, Québec was first colonized by the French in 1608, then again in 1763 by the British. Caught in between two empires, Québec distinctly has been framed as both *a settler colony and postcolonial space*. </br></br>
|
||||
During the Quiet Revolution of the 1960s, the emergence of modern forms of white nationalist anxiety fostered a recalibration of francophone nationalism that would come to form strange political assemblages with Blackness in both material and symbolic ways. From early conversations on Négritude and the work of Césaire and Fanon in *Parti pris* (1963-1968) and Albert Memmi’s *Portrait du colonisé* (1963), the Québec nationalist project deeply embraced Black anti-colonial thought as a framework for their own political struggles. These intellectuals exploited the racialized marginality of Third-World and American Black peoples by colonial state apparatuses as a metaphoric equivalent for Québécois subordination by Anglo-Canadian clientelism. Often, these works entirely obfuscated the presence of Afro-Québécois communities in favor of white colonial mythology. Such rhetoric was paradoxically crystallized by the racist expression, n***** blancs. First coined in 1959 and almost a decade before Pierre Vallières’ (1968) infamous text of the same name; Raoul Roy deployed the expression to re-articulate the historical racialization of francophones by clientelist forces as akin to Black slavery in the US. </br></br>
|
||||
Following their example, Michèle Lalonde’s (1968) activist poem "Speak White" equated language with Blackness in her summation of the “racialized” nature of francophone political and economic oppression. According to the Critical Québec Studies scholar Corrie Scott, “Blackness [w]as a sign of disempowerment, an experience of marginality, [and] a sense of collective revolt and injustice. But the revolt and the injustice conveyed in the expression[s] ‘n***** blanc’ [and ‘speak white’] stem from what Rosalind Hampton (2012) calls “the implicit premise of moral outrage over white people being treated as poorly as Black people’” (Scott 2016: 1292). As with the recalibration of their national identity from French-Canadians to Québécois during the Quiet Revolution, Québec nationalists became the arbitrators of whiteness in the province. In this process, nationalist writers exoticized and eroticized Blackness as a metaphorical political device for their white entitlement, despite routine amnesia of their own history of Black slavery and its Afro-Québécois descendants. This tactical matrix of national, (post)colonial, and globalized Blackness during the 1960s signals the complex dis/junctures that the RCT project aims to unravel and to gather together in a permanently incomplete and expanding syllabus. </br></br>
|
||||
The RCT project emerges from the rhizomatic dis/junctures of race, politics, and capital engendered and cultivated through the multispectral mapping of slavery and settler-colonialism upon local, global, and transnational structures of world-building. Accordingly, the multi-situated nature of this project’s network engages the dynamic temporalities and distinct assemblages of race, racism, and racialization (with)in/through/across geopolitical contexts. An extension and reflection of the historical, (supra/inter)national, and institutional frameworks of this project’s focus and production, the RCT network is invested in actualizing the productive discomfort of contemporary racial polemics beyond decentralization alone. Solidarity in difference. The RCT project is hosted at Concordia University in Tiohtià:ke/Montréal, in what is now known as the Canadian province of Québec. Originally inhabited by the Ten First Nations (Abenaki, Algonquin, Atikamekw, Cree, Huron-Wendat, Innu, Kanien’kehá:ka, Malecites, Mi'kmaq and Naskapi) as well as Inuit communities, Québec was first colonized by the French in 1608, then again in 1763 by the British. Caught in between two empires, Québec distinctly has been framed as both _a settler colony and postcolonial space_. </br></br>
|
||||
During the Quiet Revolution of the 1960s, the emergence of modern forms of white nationalist anxiety fostered a recalibration of francophone nationalism that would come to form strange political assemblages with Blackness in both material and symbolic ways. From early conversations on Négritude and the work of Césaire and Fanon in _Parti pris_ (1963-1968) and Albert Memmi’s _Portrait du colonisé_ (1963), the Québec nationalist project deeply embraced Black anti-colonial thought as a framework for their own political struggles. These intellectuals exploited the racialized marginality of Third-World and American Black peoples by colonial state apparatuses as a metaphoric equivalent for Québécois subordination by Anglo-Canadian clientelism. Often, these works entirely obfuscated the presence of Afro-Québécois communities in favor of white colonial mythology. Such rhetoric was paradoxically crystallized by the racist expression, n**\*** blancs. First coined in 1959 and almost a decade before Pierre Vallières’ (1968) infamous text of the same name; Raoul Roy deployed the expression to re-articulate the historical racialization of francophones by clientelist forces as akin to Black slavery in the US. </br></br>
|
||||
Following their example, Michèle Lalonde’s (1968) activist poem "Speak White" equated language with Blackness in her summation of the “racialized” nature of francophone political and economic oppression. According to the Critical Québec Studies scholar Corrie Scott, “Blackness [w]as a sign of disempowerment, an experience of marginality, [and] a sense of collective revolt and injustice. But the revolt and the injustice conveyed in the expression[s] ‘n**\*** blanc’ [and ‘speak white’] stem from what Rosalind Hampton (2012) calls “the implicit premise of moral outrage over white people being treated as poorly as Black people’” (Scott 2016: 1292). As with the recalibration of their national identity from French-Canadians to Québécois during the Quiet Revolution, Québec nationalists became the arbitrators of whiteness in the province. In this process, nationalist writers exoticized and eroticized Blackness as a metaphorical political device for their white entitlement, despite routine amnesia of their own history of Black slavery and its Afro-Québécois descendants. This tactical matrix of national, (post)colonial, and globalized Blackness during the 1960s signals the complex dis/junctures that the RCT project aims to unravel and to gather together in a permanently incomplete and expanding syllabus. </br></br>
|
||||
In the process of drawing from and gesturing toward itineraries and concepts of race on a transnational and multi-sited scale, Race Critical Theories remains all-the-while mindful of its situatedness within Tiohtià:ke/Montréal and Concordia University. More precisely, this project offers a direct response to the uniquely local ways in which the supposed defense of “academic freedom”—and the use of the n-word by white professors in particular—has sought to reinvigorate settler colonial logics and white supremacy in Quebec universities and society at large. As evidenced by its deployment during the [2022 Quebec leaders debate] and the passing of [Bill 32], the weaponization of “academic freedom” has become a juridically-sanctioned tactic for delegitimizing the voices of Black and Indigenous scholars, students and the communities they represent. </br></br>
|
||||
To our reader, the point might seem obvious; yet in our local context, it can never be overstated: Race Critical Theories opposes the weaponization of “academic freedom” as a form of systemic racism centered on whiteness and the maintenance of settler colonial entitlement. Accordingly, this project’s global outlook and investment in translocal forms of race and racial discourse aims to reinforce, rather than defer, our commitment to the specific forms of anti-racist and decolonial struggle demanded by our local environment. In this way, the project is an invitation for collaborative thinking and action that is at once embedded in distinct local histories and practices, and their translocal expression.</br></br>
|
||||
|
||||
|
|
@ -30,21 +30,21 @@ To our reader, the point might seem obvious; yet in our local context, it can ne
|
|||
[#ScholarsStrikeCanada](https://www.scholarstrikecanada.ca/)
|
||||
[#StandingRock Syllabus](https://nycstandswithstandingrock.wordpress.com/standingrocksyllabus/)
|
||||
[#Teaching the Radical Catalogue](https://syllabus.radicalcatalogue.net/)
|
||||
[#Women’sStrike Syllabus](https://thenewinquiry.com/a-womens-strike-syllabus/)
|
||||
[#Women’sStrike Syllabus](https://thenewinquiry.com/a-womens-strike-syllabus/)
|
||||
|
||||
## Bibliographic Resources
|
||||
|
||||
Chandler, Nahum D. *X: The Problem of the Negro as a Problem for Thought.* New York: Fordham University Press, 2014.</br></br>
|
||||
Goldberg, David Theo, and Philomena Essed, eds. *Race Critical Theories: Text and Context.* New York: Wiley, 2002.</br></br>
|
||||
Ferreira da Silva, Denise. *Toward a Global Idea of Race.* Minneapolis: University of Minnesota Press, 2007.</br></br>
|
||||
Scott, Corrie. “How French Canadians Became White Folks, or Doing Things with Race in Quebec.” *Ethnic and Racial Studies* 39.7 (2016): 1280–97.</br></br>
|
||||
Tuck, Eve, and K. Wayne Yang. “Decolonization Is Not a Metaphor.” *Decolonization: Indigeneity, Education & Society* 1, no. 1 (2012): 1-40.</br></br>
|
||||
Chandler, Nahum D. _X: The Problem of the Negro as a Problem for Thought._ New York: Fordham University Press, 2014.</br></br>
|
||||
Goldberg, David Theo, and Philomena Essed, eds. _Race Critical Theories: Text and Context._ New York: Wiley, 2002.</br></br>
|
||||
Ferreira da Silva, Denise. _Toward a Global Idea of Race._ Minneapolis: University of Minnesota Press, 2007.</br></br>
|
||||
Scott, Corrie. “How French Canadians Became White Folks, or Doing Things with Race in Quebec.” _Ethnic and Racial Studies_ 39.7 (2016): 1280–97.</br></br>
|
||||
Tuck, Eve, and K. Wayne Yang. “Decolonization Is Not a Metaphor.” _Decolonization: Indigeneity, Education & Society_ 1, no. 1 (2012): 1-40.</br></br>
|
||||
|
||||
# Land Acknowledgement
|
||||
|
||||
**The Race Critical Theories project assembles critical insights from scholars and activists operating through wide scopes of race, racism, racialization both within and beyond the borders of the project’s home base in Montréal. Race Critical Theories acknowledge that this project occupies the traditional lands of the Kanien’kehá:ka. The Kanien’kehá:ka are the keepers of the Eastern Door of the Haudenosaunee Confederacy. The island called “Montreal” is known as Tiotia:ke in the language of the Kanien’kehá:ka, and it has historically been a meeting place for other Indigenous nations, including the Omàmiwininì or Algonquin people.**</br></br>
|
||||
**Race Critical Theories acknowledge the lands, identities, subjectivities, bodies, and histories that have also been the target of violent imperial and settler-colonial conquest and subjugation, while at the same time reconceptualizing anti-racist solidarity within the context of living on stolen and occupied Indigenous land. This project acknowledges the complex and interconnected relationships to the land that we live on, depending on our ancestry, and where we sit in relationship to the struggles for justice occurring on this land.**</br></br>
|
||||
**By attempting to de-territorialize knowledge, we also acknowledge the deeply ingrained settler-colonialism and white supremacy of the academic institutions in which we operate. Beyond acknowledgement the ancestral native territories we occupy, we call upon our readers to re-position themselves vis-a-vis their corporeal, intellectual, and economic relationship to the land and violence upon which it was settled. We strive to be cognizant of our settler-privilege that sanctions our participation within the anti-Black and colonial structures of the academy. We also recognize how legacies of settler-colonialism found our academic and cultural institutions through the carceral Black slave labour of trans-continental imperial capitalism.**
|
||||
**By attempting to de-territorialize knowledge, we also acknowledge the deeply ingrained settler-colonialism and white supremacy of the academic institutions in which we operate. Beyond acknowledgement the ancestral native territories we occupy, we call upon our readers to re-position themselves vis-a-vis their corporeal, intellectual, and economic relationship to the land and violence upon which it was settled. We strive to be cognizant of our settler-privilege that sanctions our participation within the anti-Black and colonial structures of the academy. We also recognize how legacies of settler-colonialism found our academic and cultural institutions through the carceral Black slave labour of trans-continental imperial capitalism.**
|
||||
|
||||
[2022 Quebec leaders debate]:https://www.cbc.ca/news/canada/montreal/quebec-election-campaign-debate-language-n-word-1.6589200
|
||||
[Bill 32]:https://theconversation.com/what-is-quebecs-bill-32-on-academic-freedom-and-why-does-it-matter-183122
|
||||
[2022 quebec leaders debate]: https://www.cbc.ca/news/canada/montreal/quebec-election-campaign-debate-language-n-word-1.6589200
|
||||
[bill 32]: https://theconversation.com/what-is-quebecs-bill-32-on-academic-freedom-and-why-does-it-matter-183122
|
||||
|
|
|
|||
|
|
@ -1,10 +1,9 @@
|
|||
---
|
||||
title: Second Topic in Curriculum
|
||||
has_syllabi: ["thirdsyllabus.md", "fourthsyllabus.md", "fifthsyllabustest.md", "sixthsyllabus.md"]
|
||||
has_sessions:
|
||||
["thirdsession.md", "fourthsession.md", "fifthsession.md", "sixthsession.md"]
|
||||
---
|
||||
|
||||
# Second Topic in Curriculum
|
||||
|
||||
This should work more as an example than anything else. But one could edit and play with it...
|
||||
|
||||
|
||||
|
|
|
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0
content/urls/_index.md
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0
content/urls/_index.md
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Loading…
Add table
Reference in a new issue