Fanon and the trauma of the cultural message

Textual Practice

Volumn 19, Issue 3, 2005, Pages 219-241

  Christian, Laura ^a  

^a UNIVERSITY OF CALIFORNIA   (United States)

Author keywords

Enigmatic message; Frantz Fanon; Jean Laplanche; Orientalism; Retrospectatorship; Trauma

Indexed keywords

EID: 61249402179     PISSN: 0950236X     EISSN: None     Source Type: Journal    
DOI: 10.1080/09502360500196201     Document Type: Article

References (22)

1. See Alan Read (ed.), The Fact of Blackness: Frantz Fanon and Visual Representation (London, Seattle: Institute of Contemporary Arts: Institute of International Visual Arts; Bay Press, 1996). The volume comes out of a 1995 visual arts conference and conference on Fanon held by the Institute of Contemporary Arts in London, an event that provided a formal occasion to reflect upon th e intersections of postcolonial theory and contemporary black diasporic cultural practice
2. Stuart Hall, 'The after-life of Frantz Fanon: Why Fanon? Why now? Why Black Skin, White Masks? in Alan Read (ed.), The Fact of Blackness: Frantz Fanon and Visual Representation, (London, Seattle: Institute of Contemporary Arts: Institute of International Visual arts; Bay Press, 1996), pp. 16-17. Hall's phrase recasts the title of Rose's classic Sexuality in the Field of Vision (London, New York: Verso, 1996)
3. Frantz Fanon, Black Skin, White Masks, trans. Charles Lam Markmann (New York: Grove Press, 1967), p. 143
4. Jacques Lacan, 'Le complèxe, facteur concret de 1a psychologie familiale', in Lucien Paul Victor Febvre (ed.), Encyclopédie Française (Paris: Société de gestion de l'Encyclopédie françaìse, 1935), quoted in Fanon, Black Skin, White Masks, p. 141
5. Ed. John Fletcher (New York: Routledge, 1998)
6. Laplanche, Essays on otherness, pp. 208, 212
7. For an overview of these debates, see Mary Ann Doane, Femmes Fatales: Feminism, Film Theory, Psychoanalysis (New York: Routledge, 1991)
8. Diana Fuss, 'Interior colonies: Frantz Fanon and the politics of identification', Diacritics, 24(2) (1994), pp. 20-42
9. (Edinburgh: Edinburgh University Press, 2000), p. 69
10. 'Desire in narrative', in Alice Doesn't: Feminism, Semiotics, Cinema (London: Macmillan, 1984)
11. Christian Metz, 'The imaginary signifier', Screen, 16(2) (1975), p. 51
12. Marriott, p. 69
13. 'On retrospectatorship', in Uninvited: Classical Hollywood Cinema and Lesbian Representability (Bloomington: Indiana University Press, 1999), pp. 194-216
14. De Lauretis takes up the concept of the 'semiotic square' from Algirdas Julien Greimas' 'The interaction of semiotic constraints' in her reading of Fanon, 'Difference embodied: reflections on Black Skin, White Masks', parallax, 8(2) (2002), pp. 54-68
15. De Lauretis develops the notion of 'public' and 'private' fantasies in her essay 'Popular culture, public and private fantasies: femininity and fetishism in David Cronenberg's M. Butterfly, Signs: Journal of Women in Culture and Society, 24(2) (1999), pp. 303-34
16. In Situations, trans. Benita Eisler (New York: Braziller, 1965)
17. Art in America, 71(4) (1983), pp. 119-89
18. Orientalism, 1st edn (New York: Pantheon Books, 1978)
19. Roland Barthes, 'L'effet De Réel (1968)', in Le Bruissement De La Langue: Essais Critiques Iv (Paris: Seuil, 1984)
20. reprint, English, 'The reality effect', in The Rustle of Language, trans. Richard Howard (Berkeley: University of California Press, 1989)
21. Koestenbaum, The Queens Throat, p. 13
22. 'The grain of the voice', in Image, Music, Text (New York: Hill and Wang, 1977), pp. 179-89