This essay analyzes a shift in racialized regimes of visual signification in French metropolitan culture during the long eighteenth century. The author explores two symbolically central figures—the dismembered black slave and the black rapist/lover who is “duly punished”—by undertaking an intertextual reading of two sets of illustrations of Voltaire's Candide (1759) designed by Moreau le Jeune. Separated by the French and Haitian Revolutions, Moreau's two sets of Candide illustrations (1787 and 1803) register an important shift in the French cultural imaginary. (...) The figure of the maimed black male slave was put directly in circulation in French visual culture during the eighteenth century. In contrast, interracial sexuality remained “unrepresentable” in French visual culture throughout the century. By the time Haiti declared its independence (1804), this taboo was contravened by Moreau's metaphorical substitution of the figure of the monkey in 1803 to picture the black male as a bestial rapist. (shrink)

Do members of cultural groups have special claims to own or control the products of the cultures to which they belong? Is there something morally wrong with employing artistic styles that are distinctive of a culture to which you do not belong? What is the relationship between cultural heritage and group identity? Is there a coherent and morally acceptable sense of cultural group membership in the first place? Is there a universal human heritage to which everyone has a claim? Questions (...) such as these concern the ethics of cultural heritage (or heritage ethics, for short). This entry seeks to provide an overview of the philosophical work on topics in heritage ethics, as well as introduce readers to some of the most philosophically relevant literature from other disciplines. (shrink)

Civilizational analysis is increasingly being used to capture the plurality of routes to and through the modern world order. However, the concept of civilization betrays a colonial legacy, namely, a denial that colonized peoples possessed the creative ability to cultivate their own subjecthoods. This denial was especially acute when it came to enslaved Africans in the New World whose bodies were imagined to be deracinated and deculturated. This article proposes that civilizational analysis has yet to fully address this legacy and, (...) to clarify the stakes at play, compares and contrasts the historical sociology of CLR James with the mytho-poetics of Derek Walcott. Both authors, in different ways, have attempted to endow that quintessentially un-civilizable body – the New World slave – with subjecthood. From this discussion, the article makes the case for developing a ‘poetics of slavery’ that could help to address the colonial strictures still residual in the concept of civilization. (shrink)