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Frantz Fanon (1925-1961) was a Caribbean and African psychiatrist, philosopher and revolutionary whose works, including Black Skin, White Masks and The Wretched of the Earth are hugely influential in the fields of post-colonial studies, critical theory, and post-Marxism. His legacy remains with us today, having inspired movements in Palestine, Sri Lanka, the US and South Africa.
This is a critical biography of his extraordinary life. Peter Hudis draws on the expanse of his life and work - from his upbringing in Martinique and early intellectual influences to his mature efforts to fuse
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Produktbeschreibung
Frantz Fanon (1925-1961) was a Caribbean and African psychiatrist, philosopher and revolutionary whose works, including Black Skin, White Masks and The Wretched of the Earth are hugely influential in the fields of post-colonial studies, critical theory, and post-Marxism. His legacy remains with us today, having inspired movements in Palestine, Sri Lanka, the US and South Africa.

This is a critical biography of his extraordinary life. Peter Hudis draws on the expanse of his life and work - from his upbringing in Martinique and early intellectual influences to his mature efforts to fuse psychoanalysis and philosophy and contributions to the anti-colonial struggle in Algeria - to counter the monolithic assumption that Fanon's contribution to modern thought is defined by the advocacy of violence.

He was a political activist who brought his interests in psychology and philosophy directly to bear on such issues as mutual recognition, democratic participation and political sovereignty. Hudis shows that, as a result, Fanon emerges as neither armchair intellectual nor intransigent militant.

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Autorenporträt
Peter Hudis is Professor of Philosophy and Humanities at Oakton Community College and author of Marx's Concept of the Alternative to Capitalism (Brill, 2012) and Frantz Fanon: Philosopher of the Barricades (Pluto, 2015). He edited The Rosa Luxemburg Reader (Monthly Review Press, 2004) and The Letters of Rosa Luxemburg (Verso, 2013).