J. Lorand Matory is Lawrence Richardson Professor of Cultural Anthropology and Director of the Sacred Arts of the Black Atlantic Project at Duke University. He is the author of Stigma and Culture: Last-Place Anxiety in Black America; Black Atlantic Religion: Tradition, Transnationalism, and Matriarchy in the Afro-Brazilian Candomblé; and Sex and the Empire That Is No More: Gender and the Politics of Metaphor in Oyo Yoruba Religion.
J. Lorand Matory is Lawrence Richardson Professor of Cultural Anthropology and Director of the Sacred Arts of the Black Atlantic Project at Duke University. He is the author of Stigma and Culture: Last-Place Anxiety in Black America; Black Atlantic Religion: Tradition, Transnationalism, and Matriarchy in the Afro-Brazilian Candomblé; and Sex and the Empire That Is No More: Gender and the Politics of Metaphor in Oyo Yoruba Religion.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
J. Lorand Matory is Lawrence Richardson Professor of Cultural Anthropology and Director of the Sacred Arts of the Black Atlantic Project at Duke University. He is the author of Stigma and Culture: Last-Place Anxiety in Black America; Black Atlantic Religion: Tradition, Transnationalism, and Matriarchy in the Afro-Brazilian Candomblé; and Sex and the Empire That Is No More: Gender and the Politics of Metaphor in Oyo Yoruba Religion.
Inhaltsangabe
A Note on Orthography ix Preface xi Introduction 1 Part I. The Factory, the Coat, the Piano, and the "Negro Slave": On the Afro-Atlantic Sources of Marx's Fetish 41 1. The Afro-Atlantic Context of Historical Materialism 45 2. The "Negro-Slave" in Marx's Labor Theory of Value 60 3. Marx's Fetishization of People and Things 78 Conclusion to Part I 91 Part II. The Acropolis, the Couch, the Fur Hat, and the "Savage": On Freud's Ambivalent Fetish 97 4. The Fetishes That Assimilated Jewish Men Make 103 5. The Fetish as an Architecture of Solidarity and Conflict 117 6. The Castrator and the Castrated in the Fetishes of Psychoanalysis 145 Conclusion to Part II 165 Part III. Pots, Packets, Beads, and Foreigners: The Making and the Meaning of the Real-Life "Fetish" 171 7. The Contrary Ontologies of Two Revolutions 175 8. Commodities and Gods 191 9. The Madeness of Gods and Other People 249 Conclusion to Part III 285 Conclusion. Eshu's Hat, or An Afro-Atlantic Theory of Theory 289 Acknowledgments 325 Notes 331 References 339 Index 349
A Note on Orthography ix Preface xi Introduction 1 Part I. The Factory, the Coat, the Piano, and the "Negro Slave": On the Afro-Atlantic Sources of Marx's Fetish 41 1. The Afro-Atlantic Context of Historical Materialism 45 2. The "Negro-Slave" in Marx's Labor Theory of Value 60 3. Marx's Fetishization of People and Things 78 Conclusion to Part I 91 Part II. The Acropolis, the Couch, the Fur Hat, and the "Savage": On Freud's Ambivalent Fetish 97 4. The Fetishes That Assimilated Jewish Men Make 103 5. The Fetish as an Architecture of Solidarity and Conflict 117 6. The Castrator and the Castrated in the Fetishes of Psychoanalysis 145 Conclusion to Part II 165 Part III. Pots, Packets, Beads, and Foreigners: The Making and the Meaning of the Real-Life "Fetish" 171 7. The Contrary Ontologies of Two Revolutions 175 8. Commodities and Gods 191 9. The Madeness of Gods and Other People 249 Conclusion to Part III 285 Conclusion. Eshu's Hat, or An Afro-Atlantic Theory of Theory 289 Acknowledgments 325 Notes 331 References 339 Index 349
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