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Robin James [15]Robin M. James [3]Robinson B. James [1]
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Profile: Robin M. James (University of North Carolina, Charlotte)
  1. Robin James (forthcoming). Incandescence, Melancholy, and Feminist Bad Vibes. Differences 25 (2).
  2. Rebecca Aanerud, Barbara Applebaum, Alison Bailey, Steve Garner, Robin James, Crista Lebens, Steve Martinot, Nancy McHugh, Bridget M. Newell, David S. Owen, Alexis Sartwell & Karen Teel (2014). White Self-Criticality Beyond Anti-Racism: How Does It Feel to Be a White Problem? Lexington Books.
    George Yancy gathers white scholarship that dwells on the experience of whiteness as a problem without sidestepping the question’s implications for Black people or people of color. This unprecedented reversion of the “Black problem” narrative challenges contemporary rhetoric of a color-evasive world in a critically engaging and persuasive study.
     
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  3. Robin James (2014). Neoliberal Noise: Attali, Foucault, & the Biopolitics of Uncool. Culture, Theory, and Critique 52 (2):138-158.
    Is it even possible to resist or oppose neoliberalism? I consider two responses that translate musical practices into counter-hegemonic political strategies: Jacques Attali’s theory of “composition” and the biopolitics of “uncool.” Reading Jacques Attali’s Noise through Foucault’s late work, I argue that Attali’s concept of “repetition” is best understood as a theory of neoliberal biopolitics, and his theory composition is actually a model of deregulated subjectivity. Composition is thus not an alternative to neoliberalism but its quintessence. An aesthetics and ethos (...)
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  4. Robin James (2013). From "No Future" to "Delete Yourself ". Journal of Popular Music Studies 25 (4).
    Beginning with the role of the Sex Pistols’s “God Save the Queen” in Lee Edelman and J. Jack Halberstam’s debates about queer death and failure, I follow a musical motive from the Pistols track to its reappearance in Atari Teenage Riot’s 1995 “Delete Yourself .” In this song, as in much of ATR’s work from the 1990s, overlapping queer and Afro-diasporic aesthetics condense around the idea of death or “bare life.” ATR’s musical strategies treat this death as a form of (...)
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  5. Robin James (2013). Oppression, Privilege, & Aesthetics: The Use of the Aesthetic in Theories of Race, Gender, and Sexuality, and the Role of Race, Gender, and Sexuality in Philosophical Aesthetics. Philosophy Compass 8 (2):101-116.
    Gender, race, and sexuality are not just identities; they are also systems of social organization – i.e., systems of privilege and oppression. This article addresses two main ways privilege and oppression are relevant topics in and for philosophical aesthetics: the role of the aesthetic in privilege and oppression, and the role of philosophical aesthetics, as a discipline and a body of texts, in constructing and naturalizing relations of privilege and oppression . The first part addresses how systems of privilege and (...)
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  6. Robin James (2013). Race and the Feminized Popular in Nietzsche and Beyond. Hypatia 28 (4):749-766.
    I distinguish between the nineteenth- to twentieth-century (modernist) tendency to rehabilitate (white) femininity from the abject popular, and the twentieth- to twenty-first-century (postmodernist) tendency to rehabilitate the popular from abject white femininity. Careful attention to the role of nineteenth-century racial politics in Nietzsche's Gay Science shows that his work uses racial nonwhiteness to counter the supposedly deleterious effects of (white) femininity (passivity, conformity, and so on). This move—using racial nonwhiteness to rescue pop culture from white femininity—is a common twentieth- and (...)
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  7. Robin James (2012). Affective Resonance: On the Uses and Abuses of Music in and for Philosophy. Phaenex 7 (2):59-95.
    Because music communicates extra-propositionally, philosophers often use musical concepts and metaphors to discuss implicit and/or affective knowledges. Music is a productive means to philosophically analyze affect, but only when these analyses are grounded in rigorous studies of actual musical works and practices. When we don’t ground our study of music in musical practices, works, and theories, “music” just becomes a mirror of whatever assumptions and biases we already have. I show how the overly-abstract treatment of music and sound in Jean-Luc (...)
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  8. Robin James (2011). On Intersectionality and Cultural Appropriation: The Case of Postmillennial Black Hipness. Journal of Black Masculinity 1 (2).
    Feminist, critical race, and postcolonial theories have established that social identities such as race and gender are mutually constitutive—i.e., that they “intersect.” I argue that “cultural appropriation” is never merely the appropriation of culture, but also of gender, sexuality, class, etc. For example, “white hipness” is the appropriation of stereotypical black masculinity by white males. Looking at recent videos from black male hip-hop artists, I develop an account of “postmillennial black hipness.” The inverse of white hipness, this practice involves the (...)
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  9. Robin James (2011). Feminist Aesthetics, Popular Music, and the Politics of the 'Mainstream'. In L. Ryan Musgrave (ed.), Feminist Aesthetics and Philosophy of Art. Springer.
    While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some of its own limitations and unasked questions. This (...)
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  10. Robin James (2011). "These.Are.The Breaks": Rethinking "Disagreement" Through Hip Hop. Transformations 19.
    In this paper, I argue that it is productive to read Rancière’s theory of political practice – what he calls “disagreement” – with and against Kodwo Eshun’s theorization of hip hop. Thinking disagreement through hip hop helps flesh out how, exactly, disagreement works, particularly at the level of individual embodiment and consciousness. While Rancière himself gives us many examples of interruptions to the political body , I am interested in examining how these interruptions work in, on, and through individual bodies. (...)
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  11. Robin James (2010). From Receptivity to Transformation: On the Intersection of Race, Gender, and the Aesthetic in Contemporary Continental Philosophy. In Kathryn Gines, Donna-Dale Marcano & Maria Davidson (eds.), Convergences: Black Feminism and Continental Philosophy.
  12. Robin James (2010). The Conjectural Body: Gender, Race, and the Philosophy of Music. Lexington Books.
    The Conjectural Body combines continental philosophy with musicology, popular music studies, and feminist, critical race, and postcolonial theories to offer a unique perspective on issues of gender, race, and the philosophy of music. It is one of the few books in philosophy to take popular music seriously, and is one of the few books in continental feminism to privilege music over the visual.
     
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  13. Robin James (2009). In but Not of, of but Not In: On Taste, Hipness, and White Embodiment. Contemporary Aesthetics 2 (Aesthetics and Race).
    The status of the body figures paradoxically in the interrelated discourses of whiteness, aesthetic taste, and hipness. While Richard Dyer’s analysis of whiteness argues that white identity is “in but not of the body,” Carolyn Korsmeyer’s and Julia Kristeva’s feminist analyses of aesthetic “taste” demonstrate that this faculty is traditionally conceived as something “of” but not “in” the body. While taste directly distances whiteness from embodiment, hipness negatively affirms this same distance: the hipster proves his elite status within white culture (...)
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  14. Robin M. James (2009). Autonomy, Universaltiy, and Playing the Guitar: On the Politics and Aesthetics of Contemporary Feminist Deployments of the 'Master's Tools'. Hypatia 24 (4):77-100.
    Some feminists have argued that the “master's tools” cannot be utilized for feminist projects. When read through the lens of non-ideal theory, Judith Butler's reevaluation of “autonomy” and “universality” and Peaches's engagement with guitar rock are instances in which implements of patriarchy are productively repurposed for feminist ends. These examples evince two criteria whereby one can judge the success of such an attempt: first, accessibility and efficacy; second, that the use is deconstructive of its own conditions.
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  15. Robin M. James (2007). Deconstruction, Fetishism, and the Racial Contract: On the Politics of "Faking It" in Music. CR 7 (1):45-80.
    I read Sara Kofman's work on Nietzsche, Charles Mills' _The Racial Contract_, and Kodwo Eshun's Afrofuturist musicology to argue that most condemnations of "faking it" in music rest on a racially and sexually problematic fetishization of "the real.".
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  16. Robin James (2005). On Popular Music in Postcolonial Theory. Philosophia Africana 8 (2):171-187.
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  17. Robin M. James (2005). Gender and Aesthetics. Teaching Philosophy 28 (2):198-200.
  18. Robin James (2002). The Musical Semiotic. Philosophy Today 46 (5):113-119.
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  19. Robinson B. James (1972). Ls Whitehead's 'Actual Entity' a Contradiction in Terms? Process Studies 2 (2):112-125.
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