Abstract:Building on José Esteban Muñoz's theorization of ecstasy as a site of queer of color desire, relational practice, and utopic possibility, this essay conceptualizes what I call the black ecstatic as a hermeneutic for analyzing post–civil rights black queer poetics. My theorization of the black ecstatic attends specifically to the interrelation of political terror, social abjection, and aesthetic abstraction in contemporary black queer cultural production. As an affective and aesthetic practice, the black ecstatic eschews both the heroism of black pasts and the promise of liberated black futures in order to proffer new relational and representational modes in the ongoing catastrophe that constitutes black life in modernity. Against the backdrop of civil rights retrenchment, the War on Drugs, the AIDS crisis, and the US carceral state, this essay analyzes the recent film Moonlight and the poetry of Essex Hemphill, a black gay writer and AIDS activist. In so doing, it shows how, across literary genres and media platforms, the black ecstatic instantiates formal innovations to black queer expressive forms and encourages willful exuberance as an affective disposition and relational ethic that enables black life and liberation in the catastrophic present.

中文翻译：

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黑色狂喜

摘要：本文基于何塞·埃斯特班·穆尼奥斯 (José Esteban Muñoz) 将狂喜作为色彩欲望、关系实践和乌托邦可能性的酷儿场所的理论，将我称之为黑色狂喜的概念概念化为分析后民权黑人酷儿诗学的解释学。我对黑人狂喜的理论特别关注当代黑人酷儿文化生产中政治恐怖、社会堕落和审美抽象之间的相互关系。作为一种情感和审美实践，黑色狂喜避开了黑人过去的英雄主义和解放黑人未来的承诺，以便在构成现代黑人生活的持续灾难中提供新的关系和再现模式。在民权紧缩、毒品战争、艾滋病危机和美国监狱状态的背景下，这篇文章分析了最近的电影《月光》和黑人同性恋作家和艾滋病活动家埃塞克斯·亨普希尔的诗歌。在此过程中，它展示了黑人狂喜如何跨越文学体裁和媒体平台，将形式创新实例化为黑人酷儿表达形式，并鼓励将任性的繁荣作为一种情感倾向和关系伦理，使黑人在灾难性的当下生活和解放成为可能。