By Keeanga-Yamahtta Taylor
The eruption of mass protests within the wake of the police murders of Michael Brown in Ferguson, Missouri and Eric Garner in manhattan urban have challenged the impunity with which officials of the legislations perform violence opposed to Black humans and punctured the semblance of a postracial the United States. The Black Lives topic flow has woke up a brand new new release of activists.
In this stirring and insightful research, activist and student Keeanga-Yamahtta Taylor surveys the old and modern ravages of racism and endurance of structural inequality equivalent to mass incarceration and Black unemployment. during this context, she argues that this new fight opposed to police violence holds the capability to reignite a broader push for Black liberation.
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In the example ‘A nother case of applied dialectics’ itself, theory does not organise practice in an a priori sense; rather the process of discus sion — and it is im portant that it is presented as a process — confirms the merits of a dialectical procedure afresh. In the dialogue on Coriolanus also, where theory, in the shape of M ao’s On Contradic tion, appears to be introduced from the outside, to explain the class relations and movements in the play, this represents an addition 21 Dialectics in the Theatre to Brecht’s canon of M arxist classics, and is in itself evidence of the extension and revision his theory was undergoing.
1 Some of the argum ents of this essay are also very close to those developed in surrounding essays, such as ‘The epic theatre and its difficulties’ (1927), ‘O n form and subject m atter’ (1929) and the notes to The Rise and Fall of the Town Mahagonny (1930) and The Threepenny Opera (1931). In ‘The dialectical d ram a’ Brecht describes how a new form has developed dialectically out of the naturalistic novel to produce a dram a which is appropriate to contem porary subject m atter, and which prom otes an objective or ‘scientific’ attitude on the part of its audience.
BT, p. 37) But if this was indeed the case, social change on the scale Brecht was envisaging it could not proceed unchecked, unaided, or undeterm ined, from a beginning in artistic and intellec tual work. Brecht’s ‘The dialectical dram a’ does address social change from within a discussion of artistic change, but it also takes this argum ent to its possible limits — that an audience will be en joined to adopt ‘a quite definite political attitude’ — while simultaneously exposing its limitations as a means to social transfor m ation.
From #BlackLivesMatter to Black Liberation by Keeanga-Yamahtta Taylor