Responding to the polemic critiques of Quentin Tarantino’s 2012 film, Django Unchained, this essay uses Lacanian and Žižekian discussions of the gaze in order to understand what the film communicates about the racist ideology of American slavery. Tarantino’s film is at once more nuanced than most Hollywood films about the period and also more clearly problematic. Unlike other recent films about slavery in the United States, such as the recent Lincoln, in Django Unchained, every character other than a (...) German bounty hunter, Dr. King Schultz, is interpellated in the racist ideology that supports the institution of slavery; and the characters of the film, black and white alike, go to great lengths to preserve the ideology that rests on the subjugation of all black Americans. Tarantino’s rendition of this interpellation is made still more enjoyable as his main characters, Schultz, and the slave-turned-bounty-hunter, Django, embody two manifestations of the gaze, the screen and the stain or spot. However, because the Lacanian letter insists on arriving at the end of the film, the conclusion to Django Unchained also appears to suggest that the film’s villain, though physically defeated, was correct in his pronouncement that 9,999 out of 10,000 black people are biologically servile. (shrink)

From 2009 to 2015, U.S. director, Quentin Tarantino, released three films that were notable for their focus on particular historical events, periods and individuals (Inglorious Basterds 2009; Django Unchained 2012; The Hateful Eight 2015). Together, these films offered a specifically “Tarantinian” rendering of history: rewriting, manipulating and, for some, unethically deploying history for aesthetic effect. With regard to Django Unchained, this article examines how Tarantino’s historical revisionism provides a valuable point of inquiry into the ways in which “history” (...) is depicted on-screen and, more importantly, how depictions of “the past” can prove useful for highlighting underlying contradictions, ambivalences and ambiguities in the “present”. Drawing upon Slavoj Žižek’s Lacanian approach to film analysis, it is argued that through a combination of fantasy, subversion and counterfactual possibility – most notable in the film’s final stand-off between its leading black characters – Tarantino is able to render the Real of U.S. slavery as an ahistorical antagonism. This antagonism highlights the ongoing trauma of these events in the present as well as the use of fantasy to explore their traumatic subject matter. Such historical fictions are not fixed to the past but, via an encounter with the Real, can be used to appraise the present. (shrink)

In this article I attempt to sketch out what we might call an axiology of contingency, namely the study of the value of contingency. The triadic structure of the article follows the paraphrased epigraph from the Gospel of St John, where the word “word” is replaced with “contingency.” Although I play on the words of John in a Hegelian spirit, what is outlined here is an – admittedly brief – attempt to understand contingency as Begriff.

Abstract:The examination of racist, normalized ideology within American education is not new. Theoretical and practical conceptions of social justice in education have attempted to attend to educational inequality. Oftentimes, these attempts have reinstated the status quo because they were framed within the same Eurocentric paradigm. To address this, Django Paris proposed culturally sustaining pedagogy as a means of empowering minoritized students by sustaining the cultural competence of their communities and dismantling coloniality within educational practices. He, Michael Domínguez, and others (...) argue that epistemic expansion is imperative for equitizing educational spaces and closing the ontological distance between teachers and students. Drawing from their work as well as scholarship from the fields of educational policy, urban education, Afrocentrism, and Indigenous studies, this paper seeks to expand the discussion about culturally relevant and responsive music education to account for students’ musical epistemologies and the ways in which “epistemic travel” might inform normalized musical practices. (shrink)

Quentin Tarantino’s filmography, especially since the turn of the century, seems to be an argument for the moral justification of revenge. Bill and his D.iV.A.S. hit-squad (from Kill Bill); Adolf Hitler and Hans Landa (from Inglourious Basterds); “Monsieur” Calvin Candie and his loyal house slave Stephen (from Django Unchained); Stuntman Mike and the Manson family killers (from Death Proof and Once Upon a Time in Hollywood); and Daisy Domergue and General Sanford Smithers (from The Hateful Eight) – they all (...) had it coming, and audiences celebrate when they get what they deserve. Revenge, Tarantino reminds us, is a dish best served cold. But is it really the kind of thing that can be morally justified? To see whether it is, this chapter explores arguments both historic and contemporary. After delineating revenge from legal justice and simple retribution and exploring how Tarantino’s films argue for moral justification of revenge, we will consider common everyday arguments on the topic, as well as the relevant arguments of Plato, Baruch Spinoza, Thomas Hobbes, John Locke, Friedrich Nietzsche, Trudy Govier, Suzanne Uniacke, Andrew Oldenquist, Simone de Beauvoir, Joshua Gert, Gilead Bar-elli, David Heyd, Robert Nozick, and others. In the end, we will see that revenge can be justified – but only in very specific conditions. (shrink)

John Kinsella’s achievement as a poet has overshadowed his fiction. But his narrative accomplishment is a considerable one. Whereas his poetry is usually classified as either experimental or “dark pastoral,” the fiction evades these kinds of categorizations. This essay delineates Kinsella’s fictional oeuvre, from the estrangements of his short stories to his recent series of short novels, novellas, and full-length novels, all of which feature a protagonist who is a version of himself, a Kinsella manqué, deployed against various speculative futuristic, (...) or conjectural backdrops. This technique enables both a searing social interrogation and a questioning of the privileged self in light of racism, sexism, and white settler arrogance. Kinsella’s fiction often rewrites anterior texts or received genres. But, unlike so much other Australian fiction, it does not simply write into the global market or attempt to temporarily reanimate received paradigms. Kinsella’s fictions, such as Hollow Earth, Django & Jezebel, and Basket Z, are not conventional novels. But they provide a satisfying narrative through-line even as they prod the reader to think about their own place in the text and in the world. (shrink)

In a decisive episode of Quentin Tarantino’s Django Unchained a former slave, Django Freeman, and his patron Dr. Schultz finally manage to buy Broomhilda, Django’s wife, and thus to free her from t...