05452nam a22005175i 4500001001800000003000900018005001700027007001500044008004100059020003700100024003500137050001100172050001300183072001600196072001600212072002300228072001600251072001500267100009300282245013600375250001800511264007900529300004400608336002600652337002600678338003600704347002400740505047300764520319501237650002604432650003104458650003804489650004004527650004304567650003604610650002904646710003404675773002604709776003604735776003604771776003604807856004604843912001404889912001404903999001704917978-3-031-66924-8DE-He21320251030112938.0cr nn 008mamaa240904s2024    sz |    s    |||| 0|eng d  a97830316692489978-3-031-66924-87 a10.1007/978-3-031-66924-82doi 4aP87-96 4aQ350-390 7aJFD2bicssc 7aGTC2bicssc 7aSOC0520002bisacsh 7aJBCT2thema 7aGTC2thema1 aAthanasopoulos, Charles.eauthor.4aut4http://id.loc.gov/vocabulary/relators/aut98372810aBlack Iconoclasmh[electronic resource] :bPublic Symbols, Racial Progress, and Post/Ferguson America /cby Charles Athanasopoulos.  a1st ed. 2024. 1aCham :bSpringer Nature Switzerland :bImprint: Palgrave Macmillan,c2024.  aXIV, 235 p. 16 illus.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda0 a1. Prologue: Twilight of the Icons -- Part 1: Black Icarus 1 -- 2. In the Embers of Black Critique: Dismantling the Icon of Black Lives Matter -- 3. Désordre Absolu: Proposing Black Iconoclasm -- Part 2: Black Icarus 2 -- 4. On Fanonian Slips -- 5. Iconoclastic Readings: Anti/Blackness in Post/Ferguson American Cinema -- 6. Poetics of Visual Relation: Le Chaos-Monde of Black Lives Matter Street Art -- Part 3: Black Icarus 3 -- 7. Epilogue: Twilight of the Icons.  aIn the decade since the 2014 Ferguson Uprising, re-intensified conversations about racial progress continue to be at the forefront of American culture. The moniker Black Lives Matter, for example, emerged as a rallying cry of Black-led mass rebellions calling into question the rigid Western social codes of race, gender, class, and sexuality. These values emerge through iconography: those social codes reflected by a corresponding rolodex of public symbols (whether positive or negative) in American culture. Black Lives Matter fractured icons such as the first Black president, the innocent police officer, and the charismatic Black male activist opening space for new theories and practices of Black radical disruption. At the same time, groups such as #BLM10, BLM Grassroots, and Mass Action for Black Liberation criticize the Black Lives Matter Global Network as having transformed into a new icon of racial progress, demonstrating that the meaning of Black liberation remains hotly contested. How do we discern Black radical thought and activism from the co-options of Western Man? Are we doomed to repeat a cycle of destroying a few icons only to inevitably produce new ones? In Black Iconoclasm, Charles Athanasopoulos dismantles the Eurocentric notion of iconoclasm as the physical destruction of icons and/or the recovery of supposedly pure counter-ideologies. Instead, Black iconoclasm refers to a liminal orientation toward cracks and fissures in narratives of linear racial progress and teleological narratives of Black liberation. Athanasopoulos examines conflicting messages surrounding Black liberation in post/Ferguson America across activism, Black radical theory, communicative situations, cinema, and street art. Across each arena of American culture, his orientation toward the liminal unsettles the supposed cyclical nature of icons/iconoclasm by demonstrating that theories and practices of Black radical disruption always reflect both Black radical excess and the iconographic residues of Western Man. Those residues do not preclude those theories/practices from teaching us important lessons, they are how those lessons are learned to evolve our theories and practices of Black radical disruption. Institutional capture is neither simply inevitable just as no movement, person, or idea will be totally immune to Western Man’s racial icons. Thus, Black iconoclasm eschews purity politics and the pursuit of epistemological closure in favor of a critical orientation toward ritual transgression and Black radical discernment. Reframing iconoclasm in this way, Athanasopoulos opens avenues for new approaches to the relationship between Black resistance and the co-option of that resistance. Charles Athanasopoulos is Assistant Professor of African American and African Studies & English at The Ohio State University (USA). He received his Ph.D. in Rhetoric & Communication from the University of Pittsburgh, and his research interests lie at the intersection of Black rhetorics, media, and culture. He has published numerous peer reviewed articles in venues such as Lateral: The Journal of the Cultural Studies Association and the Western Journal of Communication. 0aCommunication.959615 0aInformation theory.957783 0aCommunication in politics.965259 0aCulturexStudy and teaching.96608214aMedia and Communication Theory.97178724aPolitical Communication.96774524aCultural Studies.9587452 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303166923108iPrinted edition:z978303166925508iPrinted edition:z978303166926240uhttps://doi.org/10.1007/978-3-031-66924-8  aZDB-2-LCM  aZDB-2-SXL  c63116d63116