This article interrogates the politics and aesthetics of Black majesty that Meghan Markle and other cultural interlocutors such as Beyoncé Knowles-Carter both inform and embody. At the same time, it probes the cultural-historical significance of Black queenship and its relationship to a tradition of Black insurgency and anticolonial resistance from the Age of Revolution to the present, looking closely at Meghan Markle in conversation with Marie-Louise Christophe, first Queen of Haiti. It nevertheless problematises the proposition that any iteration or interpretation of majesty can truly be considered ‘radical’ when it so often hinges on capitalist ideals of meritocracy, social inequality and what Paul Gilroy has termed ‘bootstraps neoliberalism’. It also considers whether this model of Black majesty presents a robust challenge to the ‘interlocking systems’ of oppression that bell hooks has constituted as ‘imperialist white supremacist capitalist patriarchy’. Above all, it contends that the concept of Black majesty represents a symbolic point of rupture that exposes colonial fault-lines.

本文探讨了梅根·马克尔（Meghan Markle）和其他文化对话者（如碧昂丝·诺尔斯·卡特（BeyoncéKnowles-Carter））所传达和体现的黑人ma下的政治和美学。同时，它探讨了黑人皇后的文化历史意义，以及它与从革命时代到现在的黑人叛乱和反殖民抵抗的传统的关系，密切注视着梅根·马克尔（Meghan Markle）与玛丽·路易丝·克里斯托夫（Marie-Louise Christophe）的对话。海地女王。然而，这对这样的命题提出了质疑：任何ma下的反复或解释都可以真正地被认为是“激进的”，因为它经常取决于资本主义的精英主义，社会不平等以及保罗·吉尔罗伊（Paul Gilroy）所称的“引导新自由主义”。它还考虑到这种黑人ma下的模式是否对钟形钩子构成的“帝国主义白人至上主义资本主义父权制”的“互锁体系”提出了严峻的挑战。最重要的是，它认为黑人ma下的概念代表了一个象征性的破裂点，暴露了殖民地的断层线。