Log in

Relevant bibliographies by topics / Afrofuturist / Journal articles

To see the other types of publications on this topic, follow the link: Afrofuturist.

Journal articles on the topic 'Afrofuturist'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Afrofuturist.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Steinskog, Erik. "Fremmede her på jorden - Afrofuturistiske spekulationer." K&K - Kultur og Klasse 43, no. 119 (September 29, 2015): 147–60. http://dx.doi.org/10.7146/kok.v43i119.22249.

Full text

Abstract:

The last couple of decades have seen an increase in research and artistic practices around afrofuturism. Taking the cue from Mark Dery’s article “Black to the Future,” where he coins the term, the article points to different aspects of afrofuturism. The music and philosophy of Sun Ra is an important point of departure, having ancient Egypt and a future outer space as orientation. At the same time there are, as Dery makes clear, other dimensions at stake. Following Dery’s argument that African Americans and other Afrodiasporic citizens in a specific sense are descendent from alien abductees, the article moves into relations between time and history, and employs an afrofuturist lens to discuss how speculative fiction can be used in interpreting history, illustrating a kind of science fiction historiography. As a case in point the Middle Passage, and the chronotope of the ocean, is discussed in tandem with Nnedi Okorafor’s novel Lagoon. Okorafor’s novel also testifies to an expansion of afrofuturism with increasing expressive work coming from the African continent.

APA, Harvard, Vancouver, ISO, and other styles

2

Baas, Renzo. "Travel Beyond Stars: Trauma and Future in Mojisola Adebayo’s STARS." Journal of Contemporary Drama in English 9, no. 1 (May 1, 2021): 95–113. http://dx.doi.org/10.1515/jcde-2021-0007.

Full text

Abstract:

Abstract The article explores Mojisola Adebayo’s two-hander STARS (preliminary workshop performance, Ovalhouse, 2018) through the lens of Afrofuturism. The play will be discussed in regard to future-making technologies. By analysing the overt as well as subtle references to science fiction and its tropes, this article lays out how Afrofuturism informs the play and how it is formative in liberating the main character. Furthermore, questions of violence against women, forms of resistance, and the function of the imagination will be examined. Adebayo deftly weaves Afrofuturist concerns into the everyday experiences of marginalised groups who face discrimination and exclusion, irrespective of whether their marginalisation is based on culture, gender, or age. Through this, the play offers ways of dealing with bodily and historical trauma and exclusion, while simultaneously addressing violent and harmful practices and power relations. The play may be set in the present and deals with current issues, but its performance of the future – in regard to resistance and liberation – proves to be its central feature.

APA, Harvard, Vancouver, ISO, and other styles

3

FitzPatrick, Jessica. "Twenty-First Century Afrofuturist Aliens." Extrapolation 61, no. 1-2 (March 2020): 69–90. http://dx.doi.org/10.3828/extr.2020.6.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Yaszek, Lisa. "An Afrofuturist Reading of Ralph Ellison'sInvisible Man." Rethinking History 9, no. 2-3 (June 2005): 297–313. http://dx.doi.org/10.1080/13642520500149202.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Pirker, Eva Ulrike, and Judith Rahn. "Afrofuturist trajectories across time, space and media." Critical Studies in Media Communication 37, no. 4 (August 7, 2020): 283–97. http://dx.doi.org/10.1080/15295036.2020.1820542.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Aghoro, Nathalie. "Agency in the Afrofuturist Ontologies of Erykah Badu and Janelle Monáe." Open Cultural Studies 2, no. 1 (November 1, 2018): 330–40. http://dx.doi.org/10.1515/culture-2018-0030.

Full text

Abstract:

Abstract This article discusses the visual, textual, and musical aesthetics of selected concept albums (Vinyl/CD) by Afrofuturist musicians Erykah Badu and Janelle Monae. It explores how the artists design alternate projections of world/subject relations through the development of artistic personas with speculative background narratives and the fictional emplacement of their music within alternate cultural imaginaries. It seeks to establish that both Erykah Badu and Janelle Monae use the concept album as a platform to constitute their Afrofuturist artistic personas as fluid black female agents who are continuously in the process of becoming, evolving, and changing. They reinscribe instances of othering and exclusion by associating these with science fiction tropes of extraterrestrial, alien lives to express topical sociocultural criticism and promote social change in the context of contemporary U.S. American politics and black diasporic experience.

APA, Harvard, Vancouver, ISO, and other styles

7

Lehnen, Leila. "Decolonizing Fictions: The Afrofuturist Aesthetics of Fábio Kabral." Review: Literature and Arts of the Americas 54, no. 1 (January 2, 2021): 80–89. http://dx.doi.org/10.1080/08905762.2021.1909258.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Wachira, James. "Wangari Maathai’s environmental Afrofuturist imaginary in Wanuri Kahiu’s Pumzi." Critical Studies in Media Communication 37, no. 4 (August 7, 2020): 324–36. http://dx.doi.org/10.1080/15295036.2020.1820543.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

O’Connell, Hugh Charles. "“We are change”: The Novum as Event in Nnedi Okorafor’sLagoon." Cambridge Journal of Postcolonial Literary Inquiry 3, no. 3 (September 2016): 291–312. http://dx.doi.org/10.1017/pli.2016.24.

Full text

Abstract:

Nnedi Okorafor is a member of a growing vanguard of global SF/F authors who challenge the hegemony of SF as a purely Western genre. This decentering of SF foremost demands a critical engagement with its dominant, operative tropes. In this light,Lagoonsubverts the stock colonial ideology long associated with the first contact alien invasion narrative. Drawing on Afrofuturist criticism, this essay argues thatLagoonutilizes the figure of the alien in order to examine Nigeria as both an object of the neoliberal futures industry and a progenitor of radical anti-neoimperial futurity. Rather than merely incorporating the predominantly Americentric determinations of much Afrofuturist thought wholesale, however, the novel demands a rethinking of the role of the alien from an African-utopian perspective. Ultimately, this requires a reconsideration of the work of the SFnovumitself in line with Alain Badiou’s conception of the event, whereby the introduction of the SF novum of the alien can be seen as a placeholder for the unknowable, unforeseeable eruption of a radical, historical event: the reawakening of a seemingly structurally unrepresentable anticolonial subjectivity that is pitched against the ideological confines of the neoliberal present.

APA, Harvard, Vancouver, ISO, and other styles

10

Fink, Dagmar. "Welche Geschichten Zukunft schaffen. Zwei (afrofuturistische und) feministische Spekulative Fiktionen." FEMINA POLITICA - Zeitschrift für feministische Politikwissenschaft 28, no. 1-2019 (May 21, 2019): 32–45. http://dx.doi.org/10.3224/feminapolitica.v28i1.03.

Full text

Abstract:

Ausgehend von einem Verständnis, das Repräsentationen als Prozesse begreift, in denen Bedeutungen ebenso wie Realitäten produziert werden und folglich als zentrale Schauplätze queer_feministischer Kämpfe gelten können, erkunde ich in diesem Beitrag, welche Geschichten über die Zukunft aktuellen feministischen Politiken den Weg weisen. Im Vordergrund meiner Auseinandersetzung mit Margaret Atwoods aktuell sehr populärem Roman „The Handmaid’s Tale“ und dessen TV-Adaption sowie mit Octavia Butlers Kurzgeschichte „Bloodchild“ stehen folgende Fragen: Wessen Zukunft wird wie erzählt? Wer wird wie, mit welchen Mitteln und in welchem Kontext dargestellt? Und vor allem, wessen Zukunft ermöglichen diese Geschichten? In Anschluss an Donna Haraway argumentiere ich, dass das Erzählen von Geschichten und gerade auch das Neu-Erzählen zentraler Mythen, wirkmächtige Werkzeuge sind, um queer_feministische und dekoloniale Vorstellungen von Verhältnissen zwischen Selbst und Anderem zu entwickeln – und so zur Verwirklichung einer erstrebten Zukunft beitragen können.

APA, Harvard, Vancouver, ISO, and other styles

11

Tyldesley, Mike. "Nicole Mitchell, Jazz and the Dialectics of the Afrofuturist Imaginary." Sociétés 147, no. 1 (2020): 111. http://dx.doi.org/10.3917/soc.147.0111.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Lavender, Isiah. "An Afrofuturist Reading of Zora Neale Hurston’sTheir Eyes Were Watching God." Lit: Literature Interpretation Theory 27, no. 3 (July 2, 2016): 213–33. http://dx.doi.org/10.1080/10436928.2016.1207279.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

van Veen, tobias c. "Destination Saturn: Sun Ra's Afrofuturist Utopias in the Art of Stacey Robinson." TOPIA: Canadian Journal of Cultural Studies 39 (April 2018): 145–66. http://dx.doi.org/10.3138/topia.39.07.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Power-Greene, Ousmane. "“Afrotopia?”: an Afrofuturist examination of Chad Hartigan’s film Morris from America (2016)." Critical Studies in Media Communication 37, no. 4 (August 7, 2020): 298–309. http://dx.doi.org/10.1080/15295036.2020.1820539.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Harries, John. "Africa on the Moon: The Complexities of an Afrofuturist Reading of Dub." Dancecult 7, no. 2 (2015): 43–63. http://dx.doi.org/10.12801/1947-5403.2015.07.02.03.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Solis, Gabriel. "Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions." Daedalus 148, no. 2 (April 2019): 23–35. http://dx.doi.org/10.1162/daed_a_01740.

Full text

Abstract:

The rise of jazz-R&B-hip hop fusions in contemporary Los Angeles offers an opportunity to reflect on the ways jazz matters to black audiences today. Drawing on recent Afrofuturist art and theory as well as on Amiri Baraka's analysis of the “changing same” in black music, this essay traces out the significance of work by artists as diverse as Kamasi Washington, Flying Lotus, Thundercat, and Robert Glasper, positing that their music tells us that jazz matters not only in itself, but also in its continuing capacity to engage in cross-genre dialogues for musicians and audiences who hear it as part of a rich continuum of African American musical expression.

APA, Harvard, Vancouver, ISO, and other styles

17

Jiménez. "“Something 2 Dance 2”: Electro Hop in 1980s Los Angeles and Its Afrofuturist Link." Black Music Research Journal 31, no. 1 (2011): 131. http://dx.doi.org/10.5406/blacmusiresej.31.1.0131.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Fawaz, Ramzi. "Space, that Bottomless Pit: Planetary Exile and Metaphors of Belonging in American Afrofuturist Cinema." Callaloo 35, no. 4 (2012): 1103–22. http://dx.doi.org/10.1353/cal.2013.0025.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Layne, Priscilla. "The Darkening of Europe: Afrofuturist Ambitions and Afropessimist Fears in Damir Lukacevic’s Dystopian FilmTransfer(2010)." Seminar: A Journal of Germanic Studies 55, no. 1 (February 2019): 54–75. http://dx.doi.org/10.3138/seminar.55.1.004.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Morris, Susana M. "Black Girls Are from the Future: Afrofuturist Feminism in Octavia E. Butler's Fledgling." WSQ: Women's Studies Quarterly 40, no. 3-4 (2013): 146–66. http://dx.doi.org/10.1353/wsq.2013.0034.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Silva, Roger Luiz Pereira da, Marinês Ribeiro dos Santos, and Frederick Van Amstel. "“Quando o negro se movimenta, toda a possibilidade de futuro com ele se move”." albuquerque: revista de história 11, no. 21 (January 11, 2020): 132–50. http://dx.doi.org/10.46401/ajh.2019.v11.9589.

Full text

Abstract:

O objetivo deste artigo é identificar como a linguagem Afrofuturista se apropria de proposições correlatas as lutas do movimento negro brasileiro, comouma estratégia de resistência em relação ao racismo. A metodologia de análise se baseia em uma revisão bibliográfica a partir dos estudos de representação identitária (Stuart Hall), Movimento Negro (Nilma Lino Gomes) e Afrofuturismo (Ytasha Womack). Assim, este estudo demonstra como as técnicas de design inseridas nas produções estéticas e artísticas se tornam ferramentas cruciais para a construção imagética e emancipação social a partir das representações das populações negras na cultura contemporânea.

APA, Harvard, Vancouver, ISO, and other styles

22

Reed, Robyn, and Julie Lohnes. "Tripping the Black fantastic at a PWI: Or how Afrofuturist exhibitions in an academic library changed everything." Alexandria: The Journal of National and International Library and Information Issues 29, no. 1-2 (April 2019): 116–29. http://dx.doi.org/10.1177/0955749019876383.

Full text

Abstract:

There is diversity in our stacks and cultural collections. How might an academic library present these differently from a museum or art gallery to create dynamic and inclusive exhibitions? This case study will examine the use of our library’s spaces to showcase its collections and art, which are often more representative of diverse populations than the campus at large, to present a theoretical and practical framework with which other libraries might exhibit their rich resources. As part of our theoretical discussion, we will take up such practical issues as displaying cultural work in a non-museum setting, anticipating possible resistance and cultural challenges, and exploring partnerships between art curators and academic librarians. We also hope to show how such exhibits can forge new relationships with teaching faculty and foster more meaningful interactions with students and community users. Additionally, the Afrofuturist exhibit and art installation presented in this article will show how a library can be purposeful in art and artifact displays that reflect the institutional commitment to inclusion and diversity and support student retention efforts.

APA, Harvard, Vancouver, ISO, and other styles

23

Perez, Javier Ernesto. "Speculating Ancestor(ie)s: The Cavernous Memory of White Innocence and Fluid Embodiments of Afrofuturist Memory-Work." Humanities 9, no. 4 (November 23, 2020): 138. http://dx.doi.org/10.3390/h9040138.

Full text

Abstract:

Enduring legacies of racial violence signal the need to reconcile with the past. This paper comparatively explores various speculative works that either reinforce a paradigm of White innocence that serves to deny such legacies or center critical dialogue between the past and present. It draws on a range of theoretical works, including Seshadri-Crooks’s (2000) Lacanian analysis of race, Taylor’s (2003) notion of the body as repertoire for embodied knowledge, Wright’s (2015) concept of Black epiphenomenal time, and Hartman’s (2008b) method of ‘critical fabulation.’ Through an analysis of the narrative tropes of caves and mirrors in the Star Wars Skywalker saga (1977–1983; 2015–2019), this paper firstly unpacks the bounded individualism that permits protagonists Luke and Rey Skywalker to refute their evil Sith lord ancestry and prevail as heroes. It then turns to the works Black Panther (2018) and Watchmen (2019) to comparatively examine Afrofuturist narrative strategies of collectivity, embodiment, and non-linear temporality that destabilize bounded notions of self and time to reckon with the complexities of the past. It concludes that speculative approaches to ancestral (dis)connections are indicative of epistemological frameworks that can either circumvent or forefront ongoing demands to grapple with the past.

APA, Harvard, Vancouver, ISO, and other styles

24

Hamilton, E. "Analog Girls in a Digital World: Fatimah Tuggar's Afrofuturist Intervention in the Politics of "Traditional" African Art." Nka Journal of Contemporary African Art 2013, no. 33 (September 1, 2013): 70–79. http://dx.doi.org/10.1215/10757163-2352821.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Wilson, Paul. "The Afrofuturist Village: Masiyaleti Mbewe curated by Aino Moongo Goethe Institute, Windhoek, Namibia February 21–March 2, 2018." African Arts 52, no. 3 (September 2019): 83–85. http://dx.doi.org/10.1162/afar_r_00487.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Pochmara, Anna, and Justyna Wierzchowska. "Nobody Knows My Name: The Masquerade of Mourning in the Early 1980s Artistic Productions of Michael Jackson and Prince." Open Cultural Studies 1, no. 1 (December 20, 2017): 628–45. http://dx.doi.org/10.1515/culture-2017-0058.

Full text

Abstract:

AbstractThe article analyses Michael Jackson’s album Thriller and Prince’s movie Purple Rain. We explore their camp aesthetics and their recasting of the cultural representations of the black male. Jackson’s and Prince’s performative personas are both liberatory and burdened with the received cultural scripts of black masculinity. We claim that their employment of camp is political rather than escapist and depoliticized. Camp serves them as a platform to mourn the cultural displacement of the black male body in a postslavery America. In particular, the two artists distance themselves from the extensive ideological and physical pressures exerted on the black male body in the early 1980s. As a result, their performances are complexly de-Oedipalized. Prince in Purple Rain refuses to assume the patriarchal position of the Father. Analogously, Jackson fashions himself as a Peter Pan-like eternal adolescent who never makes his final identification as either heterosexual or LGBTQ desiring agent. In the coda to the article, we reach beyond the 1980s to explore a more flexible approach to camp in the artistic output of twenty-first-century African American performers of Queercore and Afrofuturist scenes, which were partially enabled by Jackson’s and Prince’s performances.

APA, Harvard, Vancouver, ISO, and other styles

27

Stokes, Benjamin, François Bar, Karl Baumann, Ben Caldwell, and Andrew Schrock. "Urban furniture in digital placemaking: Adapting a storytelling payphone across Los Angeles." Convergence: The International Journal of Research into New Media Technologies 27, no. 3 (March 17, 2021): 711–26. http://dx.doi.org/10.1177/1354856521999181.

Full text

Abstract:

A growing number of urban practitioners and scholars are interested in using digital storytelling to strengthen neighborhood connections to shared culture and build a coherent sense of place. This article contributes to this discussion by investigating how ‘urban furniture’ can sustain social capacity for digital placemaking. While traditional ‘urban furniture’ in public space is purely physical, digital-physical hybrids are emerging, from benches that tell stories to bus stops that play videos. This extended case follows the travels of an Afrofuturist piece of urban furniture: a community-hacked payphone called Sankofa Red. Our analysis triangulates findings across three installations to show how placemaking can be sustained as a social process: as part of a successful makeover of a community plaza, featured in a neighborhood history game, and in an art exhibition on race and ethnicity. We identify promising practices to adapt urban furniture and retain design collectives beyond a single placemaking installation. As a way for cities to build capacity, we propose that rotating one kind urban furniture (e.g., payphones) across neighborhoods can build the social capacity for placemaking around a shared technical foundation, while still prioritizing local needs and culture.

APA, Harvard, Vancouver, ISO, and other styles

28

Tabone. "“The Ones Who Stay and Fight”: N. K. Jemisin's Afrofuturist Variations on a Theme by Ursula K. Le Guin." Utopian Studies 32, no. 2 (2021): 365. http://dx.doi.org/10.5325/utopianstudies.32.2.0365.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Welang, Nahum. "Triple Consciousness: The Reimagination of Black Female Identities in Contemporary American Culture." Open Cultural Studies 2, no. 1 (October 1, 2018): 296–306. http://dx.doi.org/10.1515/culture-2018-0027.

Full text

Abstract:

Abstract My article underscores the intermediate existence of black American women between race and gender by stressing the role white patriarchy and black hypermasculinity play in the marginalisation of black female voices and the prioritisation of white women’s interests within and beyond mainstream feminist spaces. In order to legitimise this intermediate existence of black women, my article develops the triple consciousness theory (TCT). Inspired by W.E.B. Du Bois’ concept of double consciousness, TCT argues that black women view themselves through three lenses and not two: America, blackness and womanhood. Black feminists, TCT affirms, are able to reimagine misguided narratives of black womanhood in contemporary American culture by unpacking the complexity of this threefold consciousness. In Bad Feminist, Roxane Gay strives for the inclusion of pluralist voices in the mainstream feminist movement and in Lemonade, Beyonce uses Afrofuturist tropes, reappropriation and gothic imagery to exorcise the generational pain of betrayal by black men and white women. With Insecure, Issa Rae radicalises feminist theory by critiquing archetypes attached to black womanhood and in Marvel’s Black Panther, not only do black women possess the unprecedented agency to shape their own identities on their own terms, there is also an existential reconnection with their past.

APA, Harvard, Vancouver, ISO, and other styles

30

Bennett, Michael. "Afrofuturism." Computer 49, no. 4 (April 2016): 92–93. http://dx.doi.org/10.1109/mc.2016.99.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

McCormack, Michael Brandon. "“Your God is a Racist, Sexist, Homophobic, and a Misogynist … Our God is Change”: Ishmael Reed, Octavia Butler and Afrofuturist Critiques of (Black) American Religion." Black Theology 14, no. 1 (January 2, 2016): 6–27. http://dx.doi.org/10.1080/14769948.2015.1131503.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

LEWIS, GEORGE E. "Foreword: After Afrofuturism." Journal of the Society for American Music 2, no. 2 (May 2008): 139–53. http://dx.doi.org/10.1017/s1752196308080048.

Full text

Abstract:

Welcome to our special issue on Technology and Black Music in the Americas. As guest editor, I'd like to offer my personal thanks to all of our contributors, who are exploring relatively uncharted currents in the overall flow of black music technology. I'd also like to thank JSAM editor Ellie M. Hisama and assistant editor Benjamin Piekut for their tireless efforts, as well as their extraordinary abilities as editors to navigate quickly between leaf- and forest-level views.

APA, Harvard, Vancouver, ISO, and other styles

33

Brooks, Lonny J. Avi. "Cruelty and Afrofuturism." Communication and Critical/Cultural Studies 15, no. 1 (January 2, 2018): 101–7. http://dx.doi.org/10.1080/14791420.2018.1435078.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Wofford, Tobias. "Afrofutures." Third Text 31, no. 5-6 (November 2, 2017): 633–49. http://dx.doi.org/10.1080/09528822.2018.1431472.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Pinheiro, Micaella Schmitz. "Regime de tempo no afrofuturismo a partir dos quadrinhos do Pantera Negra." Revista Memorare 8, no. 1 (July 21, 2021): 141. http://dx.doi.org/10.19177/memorare.v8e12021141-159.

Full text

Abstract:

O presente artigo buscou tratar da questão temporal no afrofuturismo, por meio dos quadrinhos do Pantera Negra, escrito por Stan Lee e desenhado por Jack Kirby, inicialmente em 1966, publicado pela Marvel Comics. O afrofuturismo é um movimento que “desliza” entre passado, presente e futuro. Sendo assim, pensando nesse regime de tempo, foi utilizado as ideias de Cronos e Aion, de Gilles Deleuze (2015). Sobre afrofuturismo, foram utilizados como pressupostos teóricos autores como Kênia Freitas (2020), Alondra Nelson (2002), Kodwo Eshun (2003) e Mark Dery (1993, 2018). Na primeira parte, o artigo introduz o conceito de afrofuturismo e apresenta o personagem Pantera Negra. O segundo momento se ocupa em realizar uma breve introdução da História americana nos anos de 1960 a partir dos quadrinhos. Em seguida, são apresentados os estudos sobre afrofuturismo e a questão do regime de tempo aionico e cronológico. Por fim, são feitas as considerações finais. Revelou-se, então, que o afrofuturismo não permanecer parado ou em um único regime de tempo, seja ele aion ou crônos.

APA, Harvard, Vancouver, ISO, and other styles

36

Pinheiro, Micaella Schmitz. "Regime de tempo no afrofuturismo a partir dos quadrinhos do Pantera Negra." Revista Memorare 8, no. 1 (July 21, 2021): 141. http://dx.doi.org/10.19177/memorare.v1e12021141-159.

Full text

Abstract:

O presente artigo buscou tratar da questão temporal no afrofuturismo, por meio dos quadrinhos do Pantera Negra, escrito por Stan Lee e desenhado por Jack Kirby, inicialmente em 1966, publicado pela Marvel Comics. O afrofuturismo é um movimento que “desliza” entre passado, presente e futuro. Sendo assim, pensando nesse regime de tempo, foi utilizado as ideias de Cronos e Aion, de Gilles Deleuze (2015). Sobre afrofuturismo, foram utilizados como pressupostos teóricos autores como Kênia Freitas (2020), Alondra Nelson (2002), Kodwo Eshun (2003) e Mark Dery (1993, 2018). Na primeira parte, o artigo introduz o conceito de afrofuturismo e apresenta o personagem Pantera Negra. O segundo momento se ocupa em realizar uma breve introdução da História americana nos anos de 1960 a partir dos quadrinhos. Em seguida, são apresentados os estudos sobre afrofuturismo e a questão do regime de tempo aionico e cronológico. Por fim, são feitas as considerações finais. Revelou-se, então, que o afrofuturismo não permanecer parado ou em um único regime de tempo, seja ele aion ou crônos.

APA, Harvard, Vancouver, ISO, and other styles

37

Delany, Samuel R. "The Mirror of Afrofuturism." Extrapolation 61, no. 1-2 (March 2020): 173–84. http://dx.doi.org/10.3828/extr.2020.11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Bould, Mark. "Afrofuturism and the archive." Science Fiction Film & Television 12, no. 2 (June 2019): 171–93. http://dx.doi.org/10.3828/sfftv.2019.11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Coffman, Jennifer, and Christian Vannier. "African Futures and Afrofuturism." Anthropology News 59, no. 4 (July 2018): e78-e82. http://dx.doi.org/10.1111/an.903.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Eshun, Kodwo. "Further Considerations of Afrofuturism." CR: The New Centennial Review 3, no. 2 (2003): 287–302. http://dx.doi.org/10.1353/ncr.2003.0021.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Strong, Myron T., and K. Sean Chaplin. "Afrofuturism and Black Panther." Contexts 18, no. 2 (May 2019): 58–59. http://dx.doi.org/10.1177/1536504219854725.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Reddell, Trace. "Ethnoforgery and Outsider Afrofuturism." Dancecult 5, no. 2 (2013): 88–112. http://dx.doi.org/10.12801/1947-5403.2013.05.02.05.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Brock, André. "Black Technoculture and/as Afrofuturism." Extrapolation 61, no. 1-2 (March 2020): 7–28. http://dx.doi.org/10.3828/extr.2020.3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Sofia Samatar. "Toward a Planetary History of Afrofuturism." Research in African Literatures 48, no. 4 (2017): 175. http://dx.doi.org/10.2979/reseafrilite.48.4.12.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Hamilton, Elizabeth C. "Afrofuturism and the Technologies of Survival." African Arts 50, no. 4 (December 2017): 18–23. http://dx.doi.org/10.1162/afar_a_00371.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Winchester, Woodrow W. "Afrofuturism, inclusion, and the design imagination." Interactions 25, no. 2 (February 23, 2018): 41–45. http://dx.doi.org/10.1145/3182655.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Posada, Tim. "Afrofuturism, Power, and Marvel Comics's Black Panther." Journal of Popular Culture 52, no. 3 (June 2019): 625–44. http://dx.doi.org/10.1111/jpcu.12805.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Jue, Melody. "Intimate Objectivity: On Nnedi Okorafor's Oceanic Afrofuturism." WSQ: Women's Studies Quarterly 45, no. 1-2 (2017): 171–88. http://dx.doi.org/10.1353/wsq.2017.0022.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Bagdanov, Kristin George. "Atomic Afrofuturism and Amiri Baraka's Compulsive Futures." Oxford Literary Review 41, no. 1 (July 2019): 51–67. http://dx.doi.org/10.3366/olr.2019.0265.

Full text

Abstract:

In 1984, the same year that scholars were gathering at Cornell University to theorise ‘Nuclear Criticism,’ Amiri Baraka was formulating his own version of nuclear futurity in Primitive World: An Anti-Nuclear Jazz Musical. Baraka's musical manifests and conceptualises atomic afrofuturism, a historically specific affirmation of black existence that was forged while facing nuclear apocalypse. Nuclear Criticism, which lost much of its exigency after the end of the Cold War, needs to evolve to account for the present nuclear era, as its focus on totalities leaves it ill-equipped for incorporating the disparate lived experiences of those who have already experienced the apocalypse and for whom nuclear apocalypse is a repetition or extension of white supremacy's agenda of extinction. This article offers a genealogy of atomic afrofuturism, examining how throughout the cold war period African American artists like Sun Ra, Langston Hughes and Amiri Baraka were exploring the post-apocalyptic conditions of black existence, including its conflicting temporalities and tenses, while much of America still believed the apocalypse was imminent, not immanent. And so it is Derrida's anti-apocalyptic missives together with Baraka's anti-nuclear musical that can offer the framework Nuclear Criticism so desperately desires for imagining the unimaginable.

APA, Harvard, Vancouver, ISO, and other styles

50

Fisher, Mark. "The Metaphysics of Crackle: Afrofuturism and Hauntology." Dancecult 5, no. 2 (2013): 42–55. http://dx.doi.org/10.12801/1947-5403.2013.05.02.03.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!