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…A white graduate of a public Michigan university who wishes to pass his historical privilege on to his children may freely lobby the board of that university in favor of an expanded legacy admissions policy, whereas a black Michigander who was denied the opportunity to attend that very university cannot lobby the board in favor of a policy that might give his children a chance that he never had and that they might never have absent that policy.
Supreme Court Justice, Sonia Sotomayor, in her dissent following the Supreme Court decision to uphold the Michigan Ban on Affirmative Action in public universities (

(Source: justjachele)

In trying to pin down a definition of anarchism, some make the mistake of examining it exclusively in terms of its theory or practice in the 1870s or 1930s but, like any other historical phenomenon, it has changed over time. Apart from debatable personal and collective acts, anarchism’s holistic perspective on oppression has been constrained by the conditions in which it has existed. This has been evident in issues pertaining to race, sexuality, and gender, for example, but one can also discern the proximity between anarchist thought and mainstream bourgeois thought during the 19th century in an explicit commitment to positivism, aesthetic realism, a Euro-centric conception of the progress of civilization, technological modernization, and biological evolutionary development. Fortunately, anarchism has shed most of that baggage but we can never entirely transcend our historical context. That is why our understanding of anarchism must not be so loose as to be meaningless, but not so rigid as to ignore areas of contradiction and historical transformation.

Mark Bray

very well put

(via class-struggle-anarchism)

The Legacy of Jean-Paul Sartre, European Intellectuals and Zionism


An old but very important article by Joseph Massad from 2003


The Rose of Rhodesia*

The story concerns, at least initially, the theft of a diamond from a Rhodesian mining concern. The diamond is called ‘the rose of Rhodesia’, but Shaw develop this into a deeper metaphor, as Rose is the name of a gold prospector’s daughter (played by Edna Flugrath, Harold Shaw’s wife), who falls in love with Fred Winter, the overseer who has stolen the diamond, before transferring her affections to a missionary’s son, Jack Morel, played by M.A. Wetherell. Jack is friendly with Mofti, son of the chieftan Ushakapilla, and a white rose is exchanged as a symbol of their friendship. Ushakapilla is planning an uprising against white rule, and expects his reluctant son to adopt the cause, but after Mofti’s accidental death and news that his people’s ancestral lands has been granted to them by the “great white Chief”, Ushakapilla relents. Rose returns the diamond to the mining corporation (it had been found by one of Ushakapilla’s men), and therewardmoney enables she and Jack to marry.

The Rose of Rhodesia is distinguished in particular by its portrayal of Africans. The African parts were taken by members of the M’fengu people, with Ushakapilla played by ‘Chief’ Kentani (probably a local headman) and Mofti by ‘Prince’ Yumi (possibly a migrant worker or student). The portrayals are sympathetic and convincing, and the friendship between Mofti and Jack Morel affecting and unforced. The theme of African discontent over loss of lands reflects genuine feelings of the time, and the potential for uprising was one that greatly exercised white authorities at the time (to the degree that the film could never have been made in Rhodesia itself, where the authorities greatly feared cinema’s subversive potential, and was instead filmed at Sea Point studio in Cape Town and by the spectacular Bawa Falls in Eastern Cape – none of the film was made in Rhodesia). It may be felt that the films shies away from what seems to be its initial interest – to depict African versus white tensions – by playing it safe with a story of diamond stealing. via

for more information, check out The Bioscope

*in German. English subtitles in a separate transcript here

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