IN SEARCH OF EPISTEMIC JUSTICE: A TENTATIVE CARTOGRAPHY

Call for Applications

This seminar aims to explore epistemic inequality and epistemic injustice in a variety of cultural, historical and geopolitical contexts, as well as within the academy. When discussing epistemic inequality or injustice we refer to the marginalization and de-legitimation of ways of knowing and methods of knowledge production and dissemination that stem from non-dominant cultural locations, identities and positionalities.

This special issue of The Hemingway Review aims to deepen the conversation about Hemingway, Blackness, and Whiteness. Recognizing Hemingway was taught and expected to perform White Supremacy and Privilege, we call on scholars to demonstrate ways to identify and make meaning of racism and anti-racism in Hemingway’s work. What can we learn from Hemingway about the performance of Whiteness and what use is that knowledge? How have Black writers engaged Hemingway, both in his lifetime and later? What questions about Blackness and Whiteness in the United States should we be asking of Hemingway’s public persona, Hemingway’s writing, and our teaching of both?

At first, America was convinced of its utter illegitimacy as a purveyor of “art” music. In the 19th century, as musical life developed in the United States, and while large American cities built concert halls to house their newly-formed symphony orchestras, the repertoire and the most popular artists remained overwhelmingly European: thus, the Swedish soprano Jenny Lind (1820-1887) – a friend of Felix Mendelssohn, a collaborator of Giuseppe Verdi, and a key figure of the Bach Renaissance – made a deep impression when she toured the country in 1852-2.