Artykuły w czasopismach na temat „Women, Black, in popular culture”
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Johnson, Adeerya. "Hella Bars: The Cultural Inclusion of Black Women’s Rap in Insecure". Open Cultural Studies 6, nr 1 (1.01.2022): 76–87. http://dx.doi.org/10.1515/culture-2022-0144.
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Abstract The musical supervision of HBO’s insecure sonically maps various representations of Black women’s connections to hip-hop music as a site of autonomy, agency, and authenticity. Importantly, the variety of Black female rappers who are featured in seasons 1–3 of insecure connects nuanced and contemporary representations of Black millennial women’s understanding of Black womanhood, sex, friendship, love, and relationships. I argue that the influence of Issa Rae’s perception and connections to hip-hop and the placement of songs in insecure supports a soundtrack that takes on a hip-hop feminist approach to Black popular culture. I explore contemporary female hip-hop artist as an emerging group of rappers who support nuanced narratives and identities of Black millennial women. Furthermore, this article highlights the connectedness of Black popular culture and hip-hop feminism as an important site of representation for Black women who use hip-hop as a signifier to culture, self-expression, and identity. I recognize the importance of insecure’s soundtrack and usage of Black women in hip-hop to underline the ways hip-hop sits at the intersections of race, sexuality, and gender for Black women’s everyday lives.
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Herbert, Emilie. "Black British Women Filmmakers in the Digital Era: New Production Strategies and Re-Presentations of Black Womanhood". Open Cultural Studies 2, nr 1 (1.09.2018): 191–202. http://dx.doi.org/10.1515/culture-2018-0018.
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Abstract The story of Black women in British mainstream cinema is certainly one of invisibility and misrepresentations, and Black women filmmakers have historically been placed at the margins of British film history. Up until the mid-1980s, there were no Black female directors in Britain. Pioneers like Maureen Blackwood, Martina Attille and Ngozi Onwurah have actively challenged stereotypical representations of Black womanhood, whilst asserting their presence in Black British cinema, often viewed as a male territory. In the 2010s, it seems that the British film industry remains mostly white and masculine. But the new millennium has brought a digital revolution that has enabled a new generation of Black women filmmakers to work within alternative circuits of production and distribution. New strategies of production have emerged through the use of online crowdfunding, social media and video-sharing websites. These shifts have opened new opportunities for Black women filmmakers who were until then often excluded from traditional means of exhibition and distribution. I will examine these strategies through the work of Moyin Saka, Jaha Browne and Cecile Emeke, whose films have primarily contributed to the re-presentation of Black womanhood in popular culture.
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Neal, Ronald B. "Shayne Lee: Erotic Revolutionaries: Black Women, Sexuality, and Popular Culture". Journal of African American Studies 17, nr 3 (16.05.2012): 402–4. http://dx.doi.org/10.1007/s12111-012-9223-4.
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Nogueira, Martha Maria Brito. "Empowerment of Black Women: Culture, Tradition and Protagonism of Dona Dió do Acarajé in the "Washing the Alley"". Mosaico 10, nr 2 (19.12.2017): 174. http://dx.doi.org/10.18224/mos.v10i0.5855.
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Abstract: the objective of this study is to deconstruct the racist and sexist ideologies that make invisible the presence of black women in the various spaces of society, especially in the cultural field, seeking to show their actions to promote and establish new positions. In order to do so, it analyzes the trajectory of Dona Dió do Acarajé, a black woman of quilombola descent who excelled in several popular demonstrations in the city of Vitória da Conquista in the last decades of the twentieth century, becoming a symbol of black culture. These questions will be analyzed from the feminist theories, called the “Standpoint Teory” of black feminist thought, in order to understand the dynamics of empowerment of black women in popular culture.
Empoderamento das Mulheres Negras: Cultura, Tradição e Protagonismo de Dona Dió do Acarajé na “Lavagem do Beco”
Resumo: o objetivo desse estudo é desconstruir as ideologias racistas e sexistas que invisibilizam a presença das mulheres negras nos diversos espaços da sociedade, em especial no campo cultural, procurando mostrar a suas ações para promover e estabelecer novos posicionamentos. Para tanto, analisa a trajetória de Dona Dió do Acarajé, mulher negra, de descendência quilombola que sobressaiu em várias manifestações populares na cidade de Vitória da Conquista nas últimas décadas do século XX, tornando-se símbolo da cultura negra. Estas questões serão analisadas a partir das teorias formuladas pelas feministas, denominadas de “Standpoint Teory” do pensamento feminista negro, no sentido de compreender as dinâmicas de empoderamento das mulheres negras na cultura popular.
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Rodriguez, Mario. "“Blame it on the Black Star”: Black Holes in Culture". IAFOR Journal of Cultural Studies 8, nr 2 (30.12.2023): 5–30. http://dx.doi.org/10.22492/ijcs.8.2.01.
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“Black holes” continue to compel the human imagination, as demonstrated by the public reception of the first images of a black hole produced by the Event Horizon Telescope in 2019 or the success of Hollywood science fiction movies like Christopher Nolan’s 2014 film Interstellar that depicts what it might be like to fall into one. My study traces the discovery of “black holes” in the 20th century – collapsed stars with so much gravity that nothing can escape them, not even light – regarding how scientists talked about them and their emergence in popular culture. This begins with discussing how influential scientists weighed in on the concept and how the scientific community finally settled on the term “black hole.” The study then considers various ways black holes have percolated into every aspect of culture: from TV to movies, popular science to modern rock. It concludes with a consideration of the more recent turn in the cultural meaning of this “exotic object,” particularly as it relates to the myth of the lone scientist, women scientists, and the climate crisis, but also the risk of nuclear war.
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Thompson Moore, Katrina. "The Wench: Black Women in the Antebellum Minstrel Show and Popular Culture". Journal of American Culture 44, nr 4 (grudzień 2021): 318–35. http://dx.doi.org/10.1111/jacc.13299.
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Boylorn, Robin M. "Dark-Skinned Love Stories". International Review of Qualitative Research 5, nr 3 (listopad 2012): 299–309. http://dx.doi.org/10.1525/irqr.2012.5.3.299.
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In recent years academic scholarship and the public imagination has focused on the love lives (or lack thereof) of black women. In response and reaction to the recent so-called black love epidemic I interrogate claims about black women's failure at love and critique the ways that black women are often blamed for their cultural positionality. Framing my personal story with Toni Morrison's fictional character Pecola Breedlove, I discuss the role of sexism and colorism in the context of heterosexual love narratives. I use autoethnography, references to popular culture, and interdisciplinary scholarship to discuss my personal journey of identity, identification, and transformation as an unmarried dark-skinned woman.
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Farrugia, Rebekah, i Kellie D. Hay. "Wrecking rap's conventions: the cultural production of three daring Detroit emcees". Popular Music 37, nr 1 (8.12.2017): 63–80. http://dx.doi.org/10.1017/s0261143017000575.
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AbstractThis article profiles the music of three politically motivated hip hop emcees. It combines textual and musicological analysis with ethnographic data to examine the ways in which these women use music to empower themselves and to contribute to meaningful, positive change in post-industrial, post-bankruptcy Detroit. These narratives are significant because they combat the dominant, hegemonic two-dimensional representations of African American women that are epitomised in commercial hip hop and popular culture at large. Further, in a context where art and activism are connected, their work challenges the current controlling images and sexual scripts that dominate both commercial music industry representations and scholarship on women in hip hop. The artists we profile exemplify a new kind of musical movement where women are agents and creative solutionaries. At times, they are explicitly critical of the narrow range of black womanhood presented in popular culture and in other instances, they focus on issues such as the environment, race relations, racialized bodies, poverty and abuse, all the while challenging the hip hop industry and popular culture norms that communicate who black women are and who they should be.
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Różalska, Aleksandra. "Transgressing the Controlling Images of African-American Women? Performing Black Womanhood in Contemporary American Television Series". EXtREme 21 Going Beyond in Post-Millennial North American Literature and Culture, nr 15 (Autumn 2021) (20.11.2021): 273–90. http://dx.doi.org/10.7311/pjas.15/2/2021.07.
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Drawing from intersectionality theories and black feminist critiques of white, masculinist, and racist discourses still prevailing in the American popular culture of the twenty-first century, this article looks critically at contemporary images of African-American women in the selected television series. For at least four decades critics of American popular culture have been pointing to, on the one hand, the dominant stereotypes of African-American women (the so-called controlling images, to use the expression coined by Patricia Hill Collins) resulting from slavery, racial segregation, white racism and sexism as well as, on the other hand, to significant marginalization or invisibility of black women in mainstream film and television productions. In this context, the article analyzes two contemporary television shows casting African-American women as leading characters (e.g., Scandal, 2012-2018 and How To Get Away With Murder, 2014-2020) to see whether these narratives are novel in portraying black women’s experiences or, rather, they inscribe themselves in the assimilationist and post-racial ways of representation.
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Bailey, Moya. "Misogynoir in Medical Media: On Caster Semenya and R. Kelly". Catalyst: Feminism, Theory, Technoscience 2, nr 2 (21.09.2016): 1–31. http://dx.doi.org/10.28968/cftt.v2i2.28800.
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Misogynoir describes the co-constitutive, anti-Black, and misogynistic racism directed at Black women, particularly in visual and digital culture (Bailey, 2010). The term is a combination of misogyny, the hatred of women, and noir, which means black but also carries film and media connotations. It is the particular amalgamation of anti-Black racism and misogyny in popular media and culture that targets Black trans and cis women. Representational images contribute to negative societal perceptions about Black women, which can precipitate racist gendered violence that harms health and can even result in death. As philosopher Linda Alcoff asserts, racism depends on perceptible difference to determine which bodies are expendable, and in this cultural moment of Black hypervisibility, Black women are particularly vulnerable (Philosophy). I use two culture examples to explore the real life impact of misogynoir in medical media. I explore the ways in which the biomedical knowledge produced by physicians reinforces certain bodies as normal and others as pathological. The case of Caster Semenya as well as the trial of R&B star R. Kelly, allow me to introduce Black feminist health science studies as a critical intervention into current medical curriculum reform conversations.
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Mosley, Angela M. "Women Hip-Hop Artists and Womanist Theology". Religions 12, nr 12 (1.12.2021): 1063. http://dx.doi.org/10.3390/rel12121063.
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Hip-Hop is a cultural phenomenon steeped in the conservative ideologies of individualism and capitalism. It sells a lifestyle and its most recent surge of rap music and popular culture spotlights Black women more than ever before. Although Black women have always been significant piece in Hip-Hop culture, their artistry has jolted its systemic capitalism and patriarchy to engage intersectionality through a discourse of classism, sexual orientation, and racism while upending White supremacy’s either:or binary. Applying the principles of Womanism, Black female Hip-Hop artists negotiate cultural identity politics as activists to innovatively expand thought on gender performance and produce a fusion of contemporary Blackness for the 21st century. Their artivism builds a safe environment of differences within society using conscious thought, language, and performative methods to defy the White American ethos of sexism, misogyny, and materialism. By garnering a better knowledge of their existence through Indigenous African spirituality, Black women reclaim ownership of their bodies from Western European standards, including race, and gender to challenge Christianity’s meaning of martyrdom. This act of reclamation provides a reformative tool of inclusion and being fluidity through Hip-Hop music and its culture.
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Nelson, Angela M. "“At This Age, This Is Who I Am”: CeCe Winans, Exilic Consciousness, and the American Popular Music Star System". Open Cultural Studies 2, nr 1 (1.11.2018): 475–85. http://dx.doi.org/10.1515/culture-2018-0043.
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Abstract My paper addresses the intersections of the American popular music star system, Black female Gospel singers, Gospel Music, and the exilic consciousness of the Sanctified Church with special attention to life and music of Gospelwoman Priscilla Marie “CeCe” Winans Love. I argue that CeCe Winans and the marketing campaign for Winans’ album Let Them Fall in Love, is indicative of the encroachment of American popular music’s star system into self-elected “exiled” Gospel Music and into the lives of “exiled” Gospelwomen. Gospelwomen are 20th and 21st century urban African American Protestant Christian women who are paid for singing Gospel Music and who have recorded at least one Gospel album for national distribution. The self-elected exile of Gospelwomen refers to their decision to live a life based on the values of the Kingdom of God while encountering and negotiating opposing values in American popular culture. Gospelwomen and Gospel Music are impacted by the demands of stardom in America’s celebrity culture which includes achieved success and branding. Gospelwomen negotiate these components of stardom molding them into mechanisms that conform to their beliefs and needs.
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Pickette, Samantha. "The Last Black (Jewish) Unicorn: Tiffany Haddish’s Black Mitzvah and the Reframing of Jewish Female Identity". Studies in American Jewish Literature (1981-) 41, nr 2 (1.09.2022): 165–84. http://dx.doi.org/10.5325/studamerijewilite.41.2.0165.
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Abstract This paper explores the work of Tiffany Haddish, the Black Jewish stand-up comedian and actress, both in terms of Haddish’s contributions to the well-established canon of Jewish female comedy and in terms of the ways that Haddish’s work paves new ground. Through an analysis of Haddish’s 2019 Netflix special, Black Mitzvah, this paper first traces the stylistic and aesthetic methods that connect Haddish’s comedy with that of her Jewish peers (both historical and contemporaneous) and then considers the areas where Haddish breaks new ground in her assertion of a non-paradigmatic Jewish identity that is simultaneously embraced and othered within popular culture at large. The paper then transitions into a larger discussion of the ways in which Haddish’s work challenges how popular culture “expects” Jewish identity to manifest itself; her double visibility both as a Black woman and as a Jewish woman destabilizes the hegemonic understanding of Jewishness as homogenously white and Ashkenazic. Perhaps more importantly, Haddish acts as an important case study of the shifting demographics of Jewish visibility within American popular culture, and consequently, the critical and popular response to her work demonstrates the contradictory role that popular culture—and comedy specifically—plays in confirming and subverting stereotypes.
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Mack, Kimberly. "“What Are You Gonna Tell Her?”: The Power of Black Women’s Narratives". AMP: American Music Perspectives 1, nr 2 (1.12.2020): 151–58. http://dx.doi.org/10.5325/ampamermusipers.1.2.0151.
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ABSTRACT This article focuses on the power of narrative, specifically Black women’s stories, to shift ideas that circulate in American culture about popular music and the artists who create these works. Black women in country and Americana music, such as Mickey Guyton and Rhiannon Giddens, are using their voices to reclaim their rightful places in these predominantly white music scenes. There has also been an impressive stretch of recent popular music scholarship by Black women. Narratives shape musical genres, music scenes, artists’ music and personal histories, and music journalism and criticism itself. How, why, and who tells these stories makes all the difference. Ultimately, I argue that these new stories are essential, as narrative has the power to correct historically inaccurate or incomplete records about musical artists and their works, music writers and their contributions, and the construction of the genres in which musicians and music writers navigate.
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Reyes, Laurent, Jarmin Yeh i H. Shellae Versey. "BLACK PLACEMAKING: THE BODY, HOME, AND PUBLIC SPACE THROUGH THE LENS OF OLDER WOMEN". Innovation in Aging 6, Supplement_1 (1.11.2022): 202–3. http://dx.doi.org/10.1093/geroni/igac059.809.
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Abstract African American communities are frequently depicted as victims of urban conditions. However, a rich culture of grassroots community development and organizing, often led and stewarded by Black women, exists. Many of these efforts involve enhancing economic, political, and educational opportunities and centering ethics of care and caregiving. This is the notion of Black placemaking, which is explicitly community-focused, shaping the social fabric of everyday life and allowing for the development of Black vernacular spaces that became vital to African-American culture. This paper examines how Black older women engage in placemaking by presenting three select case studies. Using a narrative inquiry approach, we conducted secondary data analysis of interviews drawn from larger qualitative studies about aging in communities that took place in San Francisco and New York City. Black feminist spatial imagination, embodiment, and intersectionality theory were our guiding frameworks. Our analysis revealed how the aging Black body is a site that is subjected to socio-political regulation and violence and illuminates how Black women are agents of community resilience, creativity, and transformation. Creating and holding space (i.e., placemaking) with bodies and physical structures that center the Black community is an act of care, self-determination, and resistance to white supremacy. These embodied processes of placemaking have wide-ranging implications for the ways Black neighborhoods are framed and discussed in popular media, empirical research, and policy. Furthermore, they invite a shift in our current approach to placemaking in later life, one that centers the strengths, history, and traditions of the Black community.
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Chamberlain, Edward A. "Buy Black: How Black Women Transformed US Popular Culture. Ed. Aria S.Halliday. U of Illinois P, 2022. 208 pp. $24.95 paper." Journal of Popular Culture 56, nr 1 (luty 2023): 215–17. http://dx.doi.org/10.1111/jpcu.13241.
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Evans, Stephanie Y. "African American Women Scholars and International Research: Dr. Anna Julia Cooper’s Legacy of Study Abroad". Frontiers: The Interdisciplinary Journal of Study Abroad 18, nr 1 (15.08.2009): 77–100. http://dx.doi.org/10.36366/frontiers.v18i1.255.
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In this article, a little-known but detailed history of Black women’s tradition of study abroad is presented. Specifically, the story of Dr. Anna Julia Cooper is situated within the landscape of historic African American students who studied in Japan, Germany, Jamaica, England, Italy, Haiti, India, West Africa, and Thailand, in addition to France. The story of Cooper’s intellectual production is especially intriguing because, at a time when Black women were just beginning to pursue doctorates in the United States, Anna Cooper chose to earn her Ph.D. from the Sorbonne in Paris. In this article, it is demonstrated that her research agenda and institutional choice reflected a popular trend of Black academics to construct their scholarly identities with an international foundation. The intersection of race, gender, nationality, language, and culture are critical areas of inquiry from which to study higher education.
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Click, Melissa A., i Sarah Smith-Frigerio. "One Tough Cookie: Exploring Black Women’s Responses to Empire’s Cookie Lyon". Communication, Culture and Critique 12, nr 2 (30.03.2019): 287–304. http://dx.doi.org/10.1093/ccc/tcz007.
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Abstract The premier of Empire in January 2015 drew 9.8 million viewers and became FOX's highest-rated series debut in three years. In this episode, we are introduced to the terminally-ill CEO of Empire Entertainment, Lucious Lyon (Terrence Howard), who must decide which of his three sons will inherit the family business. To further complicate the decision, his ex-wife, Cookie (Taraji P. Henson), is released from prison after 17 years. The strength of the performances from the main cast, and those of celebrity guest stars, bolster the drama that unfolds, explaining why Empire was incredibly popular with audiences, and black audiences in particular. We examine the series's representations of blackness through focus group interviews with 31 black women viewers, exploring how they made sense of Cookie and compared her to black female leads on other series. Our interviews reveal that Cookie's complexities inspire identification and anxiety, engage broader debates about popular culture representations, and clarify black women's desires to see multifaceted images of themselves and their communities on television.
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Peterson-Salahuddin, Chelsea. "Posting Back: Exploring Platformed Black Feminist Communities on Twitter and Instagram". Social Media + Society 8, nr 1 (styczeń 2022): 205630512110690. http://dx.doi.org/10.1177/20563051211069051.
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Black women have historically used unconventional, everyday spaces as sites of Black feminist intellectual production. Today, one of the most common spaces in which Black women produce intellectual thought is social media. However, very little research has broadly examined the dynamics of these online communities for Black feminist theorizing beyond individual hashtag conversation. In this study, I conducted 21 semi-structured, in-depth interviews with individuals who engaged in eight different Black feminist hashtag conversations across Twitter and Instagram to expand our current understanding of how Black feminist intellectual production has developed and broadened through the affordances of social media. Findings suggest that while Black feminist hashtag discussions have allowed Black women to “talk back” to hegemonic mainstream and popular discourses about Black women, these conversations are constantly at stake of appropriation and co-optation replicating historical erasure of Black women’s intellectual production.
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FRISKEN, AMANDA. "Obscenity, Free Speech, and “Sporting News” in 1870s America". Journal of American Studies 42, nr 3 (grudzień 2008): 537–77. http://dx.doi.org/10.1017/s0021875808005562.
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The interventions of anti-vice crusader Anthony Comstock into 1870s popular illustrations created some surprising – and largely unintended – consequences. Not only did the man who defined modern American censorship goad into existence the radical free speech movement, but his manipulations of 1870s visual culture also heightened racial stereotyping in public print. His behind-the-scenes negotiations led illustrated newspaper editors to erase white sexuality, which they replaced with stories of interracial rape of white women by black men. In fostering both the rise of the free press movement and the selective racialization of visual culture, Comstock left an indelible mark on modern representation.
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Field, Allyson Nadia, i Hayley O’Malley. "Histories and Futures of Black Feminist Film Curation". Feminist Media Histories 10, nr 2-3 (2024): 87–113. http://dx.doi.org/10.1525/fmh.2024.10.2-3.87.
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Highlighting past and present film curatorial and programming projects by Black women, the roundtable conversation printed here featured Ina Archer, Cheryl Chisholm, Monica Freeman, Jennifer Lawson, O.Funmilayo Makarah, and Yvonne Welbon. Moderated by Allyson Nadia Field and Hayley O’Malley, the conversation began at the 2023 Sojourner Truth Festival of the Arts in Chicago and offered an occasion for curators of Black feminist film and media work to reflect on their careers and the labor involved in connecting films with audiences. Even as Black feminist media has gained more critical and popular attention in recent years, the behind-the-scenes labor of film programming—especially in earlier periods—remains largely underappreciated and understudied. This roundtable is one attempt to center those curatorial histories as vital for the understanding of American film culture.
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Thompson, Sheneese, i Franco Barchiesi. "Harriet Tubman and Andrew Jackson on the Twenty-Dollar Bill: A Monstrous Intimacy". Open Cultural Studies 2, nr 1 (1.11.2018): 417–29. http://dx.doi.org/10.1515/culture-2018-0038.
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Abstract The controversy surrounding the announcement by the US Treasury, in April 2016, that the portraits of Harriet Tubman and Andrew Jackson will “share” the twenty-dollar bill-which the latter has embodied for almost a century-highlights a glaring incongruity: A formerly enslaved black woman and abolitionist leader is being placed in iconic proximity with an exemplary historical representative of the United States as a national experiment built on whiteness, slavery, and genocide. Our essay revolves around three basic questions: Why Tubman? Why Jackson? Why Now? The Treasury’s decision and its subsequent vicissitudes allow insights into the blurring of Barack Obama’s avowed “post-racialism,” which presided over the idea to redesign the currency, into the overt white supremacy and anti-black violence at the onset of the Trump regime, which has de facto frozen the implementation of the new bill. The story serves, namely, as a commentary on paradigmatic antiblackness as a force that, being constitutive of American civil society, has been fortified by the “post-racial” pretences of the Obama era. With reference to Christina Sharpe’s notion of “monstrous intimacy” and Saidiya Hartman’s theorization of “fungibility,” we argue that the twenty-dollar bill affair reflects the ways in which the interlocutory life of civil society is fortified by the continuous positioning, in popular imagination and discourse, of the black female body as inert matter in modes of appropriation, violence, and representation that sustain America’s political and libidinal economy.
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Larasati, Ika Ayu. "Formulating Black Womanhood: A Study on Beyoncé’s Hip-Hop Song Lyrics in Beyoncé Platinum Edition Album". Rubikon : Journal of Transnational American Studies 3, nr 2 (18.07.2019): 12. http://dx.doi.org/10.22146/rubikon.v3i2.34267.
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This article aims at understanding the Black womanhood concept through Hip-Hop song lyrics, since song lyrics are not only a part of art but also a media to express people’s feelings, education, therapy and entertainment. This article also helps the readers to understand that sexuality portrayed in Hip-Hop song lyrics stands for something and has a function because music is related to the social background, message, function, and effect generated from the artwork.The qualitative method and interdisciplinary approach are used in conducting this article, which involves the literature, history, culture, sociology, and to enhance the understanding of multi-ethnic America, especially about Black womanhood. The article starts with introduction, a discussion about African American culture in general. To produce an up to date writing, the article choses the recent popular singer, Beyonce. In finding Black womanhood concepts in Beyonce’s lyrics. One thing that also needs to be highlighted is Black women’s sexuality.The findings are about Black womanhood from Beyonce’s standpoint, such as the Black woman’s self-definition, the sisterhood, the relationship between mother and daughter, and the relationship with Black men. In addition, since it highlights the Black woman’s sexuality in Hip-Hop that is based on Beyonce’s songs, it indicates that recently Black women began to realize that they have power over their own body.Keywords: Black womanhood, sexuality, Hip-Hop music, Lyrics
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Boluwaduro, Stephen Olabanji. "Negotiating body, sex, and self-fashioning in Fújì music". Sociolinguistic Studies 17, nr 1-3 (7.08.2023): 159–79. http://dx.doi.org/10.1558/sols.24125.
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A growing body of literature interrogating the voluptuous rendering of human sexuality in popular culture has focused on sex scripting in Western films and the commodification of women and their representations in popular media. However, exploration of how linguistic metaphors and innuendoes are deployed to affirm or contest expressions of desires that are sacred, sensitive, or taboo in Fuji music has received little scholarly attention. Of what significance is contesting social structure on sexuality to Fuji as a Nigerian popular musical genre? This empirical study explores this question while drawing on an ethnographic and interpretive literary analysis. Drawing from Hakim’s notion of ‘erotic capital’, the analyses and discussion operationalize the sexual scripting framework, Black feminist thought, and African/Black revolutionary art. I argue that sexual narratives and connotations in Fuji performance are often generated as powerful resources to contest sexual sensitivity and push back on silence on sexuality, negotiate and solicit artistic identity, and exact influence on public conversations on sexuality. By and large, this article affirms the engagement of sensual lyrical content as constitutive of revolutionary art and a social transformative site in which the body is negotiated as a catalyst for sexonomics in the contemporary ‘ear-tearing pant-and-bra’ musical evocations.
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Adeyemi, Kemi. "The Practice of Slowness". GLQ: A Journal of Lesbian and Gay Studies 25, nr 4 (1.10.2019): 545–67. http://dx.doi.org/10.1215/10642684-7767767.
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This essay understands slowness as an embodied method that black queer women mobilize to articulate their place within gentrifying neighborhoods oriented around speed and its by-product: white heteromasculinity. It follows the women as they participate in a queer dance party dedicated to slow jams, examining how they use slowness to theorize and take pleasure in the party as black queer women. As the party gets more popular, however, the music gets faster, the crowd gets whiter, and black queer women’s deployments of slowness shift as they see the party capitulating to a model of success in the neoliberal city that depends on black queer aesthetics even as it disavows black queer subjects. The essay subsequently situates black queer women’s conscious practices of slowness within a longer genealogy of black negotiations of the temporal, arguing that black and black queer management of space-time necessarily expands juridical-economic formulations of what David Harvey describes as the “right to the city.” In so doing, it argues for more acute attention to the racialized queer mechanics of temporal as well as affective and embodied capital as important terrains on which black queer subjects make themselves intelligible within neoliberal spaces that function through their removal.
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Buggs, Shantel Gabrieal. "Dating in the Time of #BlackLivesMatter: Exploring Mixed-race Women’s Discourses of Race and Racism". Sociology of Race and Ethnicity 3, nr 4 (29.04.2017): 538–51. http://dx.doi.org/10.1177/2332649217702658.
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The author explores the discourses and logics that self-identified multiracial and multiethnic female online daters use to explain their own responses to social justice movements around race and racism in the United States. These women mobilize stances on the social movement Black Lives Matter (BLM) as a metric of racial progressiveness, articulating their own political views on race. Furthermore, mixed-black women in particular describe using attitudes toward the BLM movement as a way to vet potential dating partners. The implementation of BLM as a tool in the contemporary dating “toolkit” suggests that the language around, and produced by, social movements (in terms of mainstream media coverage) influences the ways in which some women discuss race, gender, and racism. Using interview data from 30 in-depth interviews, the author shows how mixed-race women navigate racial politics on an interpersonal level during a time when U.S. media and popular culture is focused on issues of racism and state-sanctioned violence. The use of BLM as a rhetorical frame demonstrates how far the logics of colorblindness and antiblackness extend into everyday life and serves as a signifier of where individuals stand on significant social issues. By analyzing the ways multiracial women talk about dating, the author provides a greater understanding of the shifting meanings of race, racism, and the “postracial” in contemporary American society.
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Stanger, Camilla. "Bodies in a Frame: Black British, Working Class, Teenage Femininity and the Role of the Dance Class". Sociological Research Online 18, nr 2 (maj 2013): 204–13. http://dx.doi.org/10.5153/sro.3041.
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Historically the working class, black, female body has been defined by its sexuality and socially constructed as an object for heterosexual consumption; this article is concerned with how this manifests itself for young British women in educational settings today. I will argue that this historical bodily construction has been compounded for young women in this context by a contemporary popular culture which frames, glamorises and hetero-sexualises black female bodies. Drawing on the work of Judith Butler and Michel Foucault, I will suggest that girls who perform a Black British, working-class femininity play a central role in their own construction as hetero-sexualised and consequently passive bodies, through an internalisation of and performance for a heterosexual ‘gaze’ within various spaces of the urban, post-16 college. This article ultimately focuses, however, on the potential for resistance. Based on research conducted into the experiences of four dance students at an inner London post-16 college, I will explore the dance class as a potential space for resisting the debilitating heterosexual gaze enacted within the public spaces of the college. I will argue that the dance class can be a space where the student can reconstruct and reproduce her own body in a way that grants it agency, rather than objectifying it within a metaphorical frame.
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Allen, Stephanie Andrea. "“I Am a Lesbian”: Black Queer Subjectivities in The Watermelon Woman and Pariah". Women Gender and Families of Color 10, nr 2 (1.10.2022): 118–40. http://dx.doi.org/10.5406/23260947.10.2.02.
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Abstract In 2011, cultural critic Nelson George asserted, “Pariah is important, not simply as a promising directorial debut, but also as the most visible example of the mini-movement of young black filmmakers telling stories that complicate assumptions about what ‘black film’ can be by embracing thorny issues of identity, alienation and sexuality.” However, filmgoers, myself included, were offended at the New York Times comparison of Pariah to Lee Daniel's Precious (2008), another “Black” movie, but with such radically different content that one wonders if the reviewers actually watched Dee Rees's Black lesbian coming-out story. Much like Cheryl Dunye's The Watermelon Woman, another film written, directed, and produced by a Black lesbian, Pariah was marketed as a “Black” film, effectively ignoring its queerness. And while both movies received favorable reviews, neither film did very well at the box office, suggesting that Black moviegoers had little interest in Black lesbian film. Hence, this essay will address the ways in which two Black lesbian filmmakers, Cheryl Dunye and Dee Rees, wrote, produced, and directed films that sought to counter common stereotypes regarding queer Black subjectivities, specifically those of Black lesbians, and how their struggles to produce, market, and distribute these films are indicative of the challenges that Black lesbians in the United States still face due to racism, sexism, and homophobia. To be sure, Black lesbian filmmakers are “contest[ing] the dominant gendered and sexual definitions of racial difference by working on black sexuality” (Hall 1993, 274), in this case, Black queer subjectivities in the form of Black lesbians. Stuart Hall also reminds us that the struggle over cultural hegemony “is never about pure victory or pure domination . . . it is always about shifting the balance of power in the relations of culture, it is always about changing the dispositions and the configurations of cultural power, not getting out of it” (107). Thus, late-twentieth- and early-twenty-first-century Black lesbian filmmakers were engaged in challenging contemporary discourses that ignore the particularities of race and gender when it comes to representing LGBT experiences in film, thus hoping to exert agency over their representations in popular culture. I assert that both Pariah and The Watermelon Woman work to expand the archive of Black lesbian filmic representations by focusing on the ways in which Black lesbian identities are validated, embraced, and complicated by Black women in the United States. At the same time, these films reveal the unique challenges that Black lesbian filmmakers face from the film industry, as well as from their own communities.
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GORZELANY-MOSTAK, DANA. "Keepin’ It Real (Respectable) in 2008: Barack Obama's Music Strategy and the Formation of Presidential Identity". Journal of the Society for American Music 10, nr 2 (maj 2016): 113–48. http://dx.doi.org/10.1017/s1752196316000043.
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AbstractFrom the earliest elections with popular participation to the present day, American presidential candidates have harnessed music's connotative potential and affective properties in a variety of campaign contexts. But in a corporatized electoral landscape where the fields of politics and popular culture are inextricably intertwined, and every aspect of the candidate's public and private life is subjected to intense scrutiny enabled by the emergence of Web 2.0 technologies, nontraditional texts (such as music) play an increasingly significant role in candidate identity formation. Adding to recent work that explores the aesthetic and social dimensions of newly composed campaign music and its cultural currency, this essay turns a critical lens toward preexisting music and its impact on campaign discourses during Barack Obama's 2008 presidential primary campaign. I investigate three components of Obama's soundscape: 1) his engagement with hip hop—its artists, audiences, and values; 2) the intersections between his professed musical tastes and his complex biography; and 3) the playlists he used at campaign rallies, and the factors that allowed this soundtrack to solidify his own identity as candidate as well as forge alliances with women voters and black voters. Ultimately, cultural and musical analyses reveal how Obama's music strategy allowed him to project a black identity that was both “real” and “respectable.”
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Sands, Victoria. "“This Honestly Breaks My Heart”: Black Lives Matter and Reshaping Post-Feminist, Post-Racial Intimacy in Girls’ Influencer Economies". TOPIA: Canadian Journal of Cultural Studies 48 (1.03.2024): 134–54. http://dx.doi.org/10.3138/topia-2023-0031.
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Young women’s digital networks have been structured through a carefully cultivated sense of connection and relatability, allowing users to brand themselves as “influencers” and create lucrative beauty and lifestyle content for viewers. Drawing on Lauren Berlant’s theory of the “intimate public,” wherein closeness among women is engineered through the implicit mutual attachment to a shared feminine culture, girls’ studies scholars can consider how influencer content enables girls’ digital intimate publics in a post-feminist media culture wherein girls work to cultivate this sense of shared experience. This article explores the challenges, ruptures, and renewals in one such “digital intimate public” in the wake of the 2020 Black Lives Matter protests. A close analysis of a response to this crisis from a popular “girl-y” YouTuber seeks to understand to how dynamics in this space could directly negotiate these shifts through the utilization of online affordances, girl-oriented vernacular, and commercial strategies. It analyzes intersections of post-racial and postfeminist ideology may intersect in cultivating and renegotiating the affective norms in these girl-oriented spaces.
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Witness, Roya, i Ngcobo Sandiso. "The Gendered Contribution of Neria to the Repertoire of African Filmmaking". International Journal of Social Science Research and Review 6, nr 10 (6.10.2023): 481–93. http://dx.doi.org/10.47814/ijssrr.v6i10.1710.
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In an epoch-changing moment in Zimbabwean film history, Neria was produced by Media for Development (MFD) in 1991. It was the first locally produced film to portray relatively strong black women as shown by the titular character who resolutely fights her greedy in-law for her late husband’s estate. Neria remains Zimbabwe’s most popular film and has elicited analyses in books, films and reviews among other commentaries. Though they note empowerment of women in the film, most of these studies tend to pit women against men yet male and female characters support Neria’s cause. Hence, the purpose of this paper is to analyze the contribution made by the Neria film in promoting gender equality in an African cultural context. Womanism which asserts that abuse of women is an aberration from African culture provided theoretical grounding to the paper. Research questions that guided the study are: (i) What is the representation of male and female relationships in Neria? (ii) To what extent does this reflect Zimbabwean society? (iii) What are the factors that influence this portrayal? The research methodology adopted for this study is qualitative and purposeful sampling since it involves visual analysis of the film that is reported in words. Research findings are discussed thematically using eight themes that emerged from collected visual data that is presented qualitatively. The findings revealed that Neria exposes gender inequality in Shona traditional culture and calls for its integration with western culture albeit at times it seems too moralistic. Apparently due to the film’s external funding, it fails to link moral decadence to materialism brought by western cultures. This paper recommends concerted efforts from the government, individuals and organizations in training film personnel and funding films without undue interference. Moreover, films like Neria ought to increase the usage of indigenous languages such as Shona and Ndebele with English subtitles especially in emotional scenes for them to be more comprehensible.
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Ferreday, Debra. "‘Only the Bad Gyal could do this’: Rihanna, rape-revenge narratives and the cultural politics of white feminism". Feminist Theory 18, nr 3 (28.07.2017): 263–80. http://dx.doi.org/10.1177/1464700117721879.
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In July 2015, Rihanna released a seven-minute long video for her new single, entitled ‘Bitch Better Have My Money’ (more widely known as ‘BBHMM’), the violent imagery in which would divide feminist media commentators for its representation of graphic and sexualised violence against a white couple. The resulting commentary would become the focus of much popular and academic feminist debate over the intersectional gendered and racialised politics of popular culture, in particular coming to define what has been termed ‘white feminism’. ‘BBHMM’ is not the first time Rihanna’s work has been considered in relation to these debates: not only has she herself been very publicly outed as a survivor of male violence, but she has previously dealt with themes of rape and revenge in an earlier video, 2010’s ‘Man Down’, and in her lyrics. In this article I explore the multiple and layered ways in which Rihanna, and by extension other female artists of colour, are produced by white feminism as both responsible for perpetrating gender-based violence, and as victims in need of rescue. The effect of such liberal feminist critique, I argue, is to hold black female artists responsible for a rape culture that continually subjects women of colour to symbolic and actual violence. In this context, the fantasy violence of ‘Man Down’ and to a greater extent ‘BBHMM’ dramatises the impossibility of ‘being paid what one is owed’ in a culture that produces women of colour’s bodies, morality and personal trauma as abjected objects of consumption. I read these two videos through the lens of feminist film theory in order to explore how such representations mobilise affective responses of shame, identification and complicity that are played out in feminist responses to her work, and how their attachment to a simplistic model of representation conceals and reproduces racialised relations of inequality.
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Ogunyemi, Folabomi L. "Trauma and Empowerment in Tina McElroy Ansa’s Ugly Ways". Journal of Black Studies 52, nr 3 (11.01.2021): 331–52. http://dx.doi.org/10.1177/0021934720986424.
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Ugly Ways (1993) by Tina McElroy Ansa has been overlooked as a significant contribution to African American feminist literary fiction. This paper performs a close reading examining the novel’s thematic intersection of Black feminist theory and trauma theory. Part one of this essay defines Black feminist theory and outlines key concepts of Black feminist thought. Parts two and three focus on the protagonist, Esther “Mudear” Lovejoy, and analyze her “change” through the lenses of Black feminist theory and trauma theory, respectively, highlighting the ways in which Ugly Ways articulates a conception of Black womanhood defined in equal parts by empowerment and psychic pain. Part four argues that Black feminist theory and trauma theory are not just compatible, but consonant. Ultimately, Ugly Ways depicts African American women as complex human subjects and moves beyond conventional historical, literary, and popular representations.
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Ess, Courtneigh. "’n Feministiese ondersoek na Bettina Wyngaard se misdaadfiksie". Tydskrif vir Letterkunde 61, nr 1 (30.04.2024): 24–34. http://dx.doi.org/10.17159/tl.v61i1.16619.
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The recent discourse on black feminism in Afrikaans literature is strongly influenced by powerful and activist-oriented writers like Ronelda Kamfer, Lynthia Julius, and Veronique Jephtas. With their poetry and public statements, they have shaped the feminist discourse significantly. However, the recent discourse on feminism in Afrikaans largely overlooks the contributions of certain black Afrikaans women writers. Bettina Wyngaard, a black Afrikaans woman novelist, attempts to disrupt this silence and through her literature and opinion pieces, she advances an alternative feminist stance. This article focuses on Wyngaard’s contribution to the recent feminist discourse and the ways in which she asserts her voice within the debate. In this article I refer to three of her crime fiction novels, namely Vuilspel (Foul play) (2013), Slaafs (Slavishly) (2016) and Jagter (Hunter) (2019). I analyse these texts in attempt to examine the feminist ideology underlying her literature. I argue that Wyngaard chooses crime fiction, a genre traditionally dominated by white males, in attempt to sanction her voice within the feminism debate in Afrikaans. In this article, I examine Wyngaard’s crime fiction within the context of third wave of feminism, which engages with popular culture as a tool for critique and to promote feminist ideology. I explore the feminist consciousness and ideology in Wyngaard’s novels and the ways in which she challenges established patriarchal conventions in crime fiction as a genre. I employ Anne Cranny-Francis’ framework in the feminist value of crime fiction to examine the feminist themes in Wyngaard’s work.
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Carroll, Rachel Jane. "Remains to Be Seen". Social Text 41, nr 1 (1.03.2023): 47–70. http://dx.doi.org/10.1215/01642472-10174968.
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Abstract This article unspools the history of nylon as a commodity between two Black feminist cultural expressions, Senga Nengudi's R.S.V.P. series and Audre Lorde's Zami. The first popular petroleum-derived synthetic fiber, nylon was a crucial material in building what Dwight D. Eisenhower was to dub the “military-industrial complex.” Through readings of R.S.V.P. and Zami, the article traces the racial and gendered history of nylon as both a fashion commodity and a military resource. These readings demonstrate Black feminism's central relevance to US military imperialism, particularly in Asia and the Pacific, as well as imperialism's impacts on Black femininity during the Cold War. This article argues that Black feminist aesthetics, such as those Nengudi and Lorde employ, restores the context of commodities like nylons, revealing the centrality of Black women's productive and reproductive labor to US empire. Most important, as R.S.V.P. and Zami restore context, they also generate a system of value in opposition to racial capitalism that does not depend on violence against Black women.
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Galvão, Ana Maria De Oliveira, Kelly Aparecida De Sousa Queiroz i Mônica Yumi Jinzenji. "Mulheres de meios populares e a construção de modos de participação nas culturas do escrito (Minas Gerais, Brasil, Século XX)". education policy analysis archives 21 (23.09.2013): 72. http://dx.doi.org/10.14507/epaa.v21n72.2013.
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How do low-income women build, throughout their lives, ways to participate in written culture? What are the main instances that “sponsor” this participation? What kind of participation is built? This article aims to analyze the tactics through which low-income, uneducated black women, who were born in rural areas and today live in a slum in Belo Horizonte, Minas Gerais, Brazil, built their participation in written culture during the mid-20th century. Oral history was used as methodological approach to interview 33 women. A survey of secondary data about their hometowns was also performed. The theoretical framework includes the works done in the fields of cultural history, sociology of reading, and orality and literacy. The results of the research show that family, school, the urban environment, and the participation in social movements were, in general, responsible for the women’s participation in written culture. The research also shows that they performed different ways of participation. Some women became literary readers, wrote poems and music, and developed very organized speeches. However, most of them experienced a distant relationship with the written world: they learned how to sign their names and developed tactics to live in a written-centered society, such as memorization and the help from people who know how to read and write.
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Mitchell, Rebecca N. "DEATH BECOMES HER: ON THE PROGRESSIVE POTENTIAL OF VICTORIAN MOURNING". Victorian Literature and Culture 41, nr 4 (25.10.2013): 595–620. http://dx.doi.org/10.1017/s1060150313000132.
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On the occasion of her Golden Jubilee, Queen Victoria was depicted in a woodcut by William Nicholson that was to become extremely popular (Figure 1). So stout that her proportions approach those of a cube, the Queen is dressed from top to toe in her usual black mourning attire, the white of her gloved hands punctuating the otherwise nearly solid black rectangle of her body. Less than thirty years later, another simple image of a woman in black would prove to be equally iconic: the lithe, narrow column of Chanel's black dress (Figure 2). Comparing the dresses depicted in the two images – the first a visual reminder of the desexualized stolidity of Victorian fidelity, the second image an example of women's burgeoning social and sexual liberation – might lead one to conclude that the only thing they have in common is the color black. And yet, twentieth- and twenty-first-century fashion historians suggest that Victorian mourning is the direct antecedent of the sexier fashions that followed. Jill Fields writes, for example, that “the move to vamp black became possible because the growing presence of black outerwear for women in the nineteenth century due to extensive mourning rituals merged with the growing sensibility that dressing in black was fashionable” (144). Valerie Mendes is more direct: “Traditional mourning attire blazed a trail for the march of fashionable black and the little black dress” (9). These are provocative claims given that most scholarly accounts of Victorian mourning attire – whether from the perspective of literary analysis, fashion history or theory, or social history or theory – offer no indication that such progressive possibilities were inherent in widows’ weeds. Instead, those accounts focus almost exclusively on chasteness and piety, qualities required of the sorrowful widow, as the only message communicated by her attire: “Widows’ mourning clothes announced the ongoing bonds of fidelity, dependence, and grieving that were expected to tie women to their dead husbands for at least a year” (Bradbury 289). The disparity in the two accounts raises the question: how could staid, cumbersome black Victorian mourning attire lead to dresses understood to embrace sexuality and mobility?
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Grayson, John. "Developing the Politics of the Trade Union Movement: Popular Workers’ Education in South Yorkshire, UK, 1955 to 1985". International Labor and Working-Class History 90 (2016): 111–32. http://dx.doi.org/10.1017/s0147547916000090.
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AbstractDrawing on evidence from research interviews, workers’ memoirs, oral histories, and a range of secondary sources, the development of popular workers’ education is traced over a thirty year period, 1955 to 1985, and is rooted in the proletarian culture of South Yorkshire, UK. The period is seen as an historical conjuncture of Left social movements (trade unions, the Communist and Labour parties, tenants’ movements, movements of working-class women, and emerging autonomous black movements) in a context of trade union militancy and New Left politics. The Sheffield University extramural department, the South Yorkshire Workers' Educational Association (WEA), and the public intellectuals they employ as tutors and organizers are embedded in the politics and actions of the labor movement in the region, some becoming Labour MPs. They develop distinctive programs of trade union day release courses and labor movement organizations (Institute for Workers' Control, Conference of Socialist Economists, Society for the Study of Labour History). Workers involved in the process of popular workers' education become organic intellectuals having key roles in local and national politics, in the steel and miners' strikes of the 1980s, and in the formation of Northern College. The article draws on the language and insights of Raymond Williams and Antonio Gramsci through the lens of social movement theory and the praxis of popular education.
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Clark, Susan F. "Solo Black Performance before the Civil War: Mrs. Stowe, Mrs. Webb, and ‘The Christian Slave’". New Theatre Quarterly 13, nr 52 (listopad 1997): 339–48. http://dx.doi.org/10.1017/s0266464x00011465.
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In contemporary culture, an ‘Uncle Tom’ has become so derided a figure of complicity in racism that it is perhaps only with difficulty, and a corrective historicist awareness, that we can come to acknowledge both the good intentions and the undeniable effectiveness of Harriet Beecher Stowe's original – a novel in which, interestingly, women play no less prominent a part than black characters. Indeed, it is likely that the proliferating stage adaptations of Mrs. Stowe's novel were largely responsible for creating the stereotype Uncle Tom in a popular imagination on which such melodramatized accounts had a lasting impact: and it was partly in response to such perversions that Mrs. Stowe herself set out to dramatize her novel. The result, The Christian Slave, has remained relatively unknown not least because of the premature death of its solo performer, Mary Webb – herself a pioneer among black performers who achieved recognition from white audiences. In the following article, Susan F. Clark examines the play in its contemporary context, contrasts it both with other stage versions and with the seminal novel, and examines the relationship between its black performer and her audiences. Susan F. Clark is Assistant Professor of Theatre History at Smith College, Massachusetts, and is currently working on a full-length study of interpretations of Uncle Tom's Cabin on the American stage.
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Sawyer, Lena. "Engendering ‘Race’ in Calls for Diasporic Community in Sweden". Feminist Review 90, nr 1 (październik 2008): 87–105. http://dx.doi.org/10.1057/fr.2008.26.
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This article argues that theorists of black/African diasporas should interrogate the specific ways in which ‘race’ is used to engage people in diasporic projects, and that such projects are intimately intertwined with specifically gendered, sexualized, and generational class relations and positionalities in specific national contexts and spaces. Attention to these intersections can help us better understand hierarchies of power between and among diasporic individuals and communities. This article focuses on historically specific Swedish meanings of racialized femininities and the different forms of agency women use to negotiate the gendered processes of racialization they encounter in a variety of settings and sources. It draws on interviews and fieldnotes conducted between 1994 and 2007, together with analysis of popular culture (music and radio programmes) and ethnographic material collected by Swedish ethnologist Viveca Motsieloa, and maps out some of the complexities utilized by different generations of Swedish women of African heritage in a changing Swedish landscape of racial formations. Their negotiations show how tensions and differences between ‘second-generation’ migrants and those of the ‘first generation’ are expressed through gender, sexuality, and differing understandings of ‘race’ (and the place of ‘racial mixture’).
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Bailey, Moya. "Redefining Representation". Screen Bodies 1, nr 1 (1.03.2016): 71–86. http://dx.doi.org/10.3167/screen.2016.010105.
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This article explores Black trans and queer women’s use of digital media platforms to create alternate representations of themselves through a process that addresses health and healing beyond the purview of the biomedical industrial complex. These activities include trans women of color using Twitter to build networks of support and masculine of center people creating their own digital health zine, two projects that value the propagation of crowd-sourced knowledge and the creation of images that subvert dominant representations of their communities. I argue that this process of redefining representation interrupts the normative standards of bodily representation and health presented in popular and medical culture. My research connects the messages within the seemingly objective realm of biomedicine to the social contexts in which they emerge and are shared. By highlighting two examples where I see these connections being made, I shift attention to the images deployed to redefine representations within these liminal communities.
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Scott, Claire E. "Intimacy and Failed Solidarity in the Teen Girl Film Lollipop Monster (2011)". Feminist German Studies 39, nr 2 (wrzesień 2023): 74–97. http://dx.doi.org/10.1353/fgs.2023.a917808.
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Abstract: In this article I analyze the 2011 German indie film Lollipop Monster as a contemporary model for what Lauren Berlant calls "intimate publics." This film twists the genre of the teen girl film by portraying female friendship as a catalyst for unleashing suppressed emotions and subverting oppression. Instead of directing their aggression internally as self-harm, the protagonists of Lollipop Monster use violence against others to reinforce their strong social bond. By employing cinematic techniques from the popular multimedia genre of the music video, Lollipop Monster harkens back to the imagined sisterhoods of Riot Grrrl culture. In its nostalgic celebration, the film fails to address the racism of this movement, ultimately remaining focused on whiteness and failing to fully explore possibilities for solidarity between Black and white women. Overall, Lollipop Monster updates Berlant's cautionary theory, illustrating how gendered intimate publics co-create neoliberal landscapes of digital, multimedia music and social media stardom.
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Nava, Mica. "The Cosmopolitanism of Commerce and the Allure of Difference". International Journal of Cultural Studies 1, nr 2 (sierpień 1998): 163–96. http://dx.doi.org/10.1177/13678779980010020201.
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This article engages with postcolonial theorizations of orientalism and challenges assumptions about the pervasiveness of imperial ideologies in Britain at the beginning of the century by exploring the adherence of Selfridges department store to the principle of ‘cosmopolitanism’. The aesthetic and libidinal economy of this popular modernist commercial formation, and the distinctive positioning of women consumers within it, is investigated in relation to two key cultural events promoted by Selfridges in the years before the First World War: the Russian Ballet performance of Scheherazade — based on a story from the Arabian Nights in which the women of the Shah's harem seduce the black slaves of the household — and the tango, which is also associated with a new less constrained sexuality for women and in turn is linked — via Valentino — to the emerging popular form of desert romance. How do these configurations, and the fashionable ancillary merchandise spawned by them, modify our understanding of racialized and national identities? Does the gendered consumption of these exotic narratives and products and their relocation to the intimate territories of the domestic and the body, demand a shift in the way in which commerce is thought of? What are the consequences for conceptualizations of sexual difference? This article, by focusing on the purchase by Selfridges' women customers of culturally other objects of desire, aims to make a contribution both to theorizations of consumption and to the largely unresearched history of the western fascination with difference.
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Yanders, Jacinta. "Black Women and Popular Culture: The Conversation Continues. Adria Y.Goldman, VaNatta S.Ford, Alexa A.Harris, and Natasha R.Howard, eds. Lexington Books, 2014. 326 pp. $100.00 cloth. $49.99 paperback." Journal of Popular Culture 50, nr 3 (czerwiec 2017): 653–55. http://dx.doi.org/10.1111/jpcu.12558.
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Epprecht, Marc. "The Gay Oral History Project in Zimbabwe: Black Empowerment, Human Rights, and the Research Process". History in Africa 26 (styczeń 1999): 25–41. http://dx.doi.org/10.2307/3172136.
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This paper discusses an attempt to apply historical research directly to the development of a culture of human rights and democracy in Zimbabwe. The research concerns sensitive and controversial issues around sexuality, race, and nationalism that are important in and of themselves. What I would like to argue here, however, is that the method used to design and carry out the research project is at least as interesting. This holds true from the point of view of both professional historians like myself and community activists—two perspectives that are often difficult to reconcile in practice. In this project, “ivory tower” and “grassroots” are brought together in a mutually enriching relationship that offers an alternative model to the methods that currently predominate in the production of historical knowledge in southern Africa.Gays and Lesbians of Zimbabwe (GALZ) is a non-government organization that was founded in 1990. It provides counseling, legal and other support services to men and women struggling with issues of sexuality. It also strives to promote a politics in Zimbabwe that would embrace sexual orientation as a human right. Toward the latter goal it has lobbied government for changes to current laws that discriminate against homosexuals and which expose gay men and women to extortion (so far, in vain). With somewhat more success, it has lobbied the police directly to raise awareness of the extortion issue. GALZ also publishes pamphlets, a newsletter, and other information designed to educate Zimbabweans in general about homosexuality and homophobia. Through these efforts it seeks to challenge popular stereotypes of homosexuals as Westernized perverts who spread diseases and corrupt children. One recent publication included detailed historical research that showed how homosexual practices—including loving and mutual homosexual relationships—have been indigenous to the country throughout recorded history, and probably from time immemorial.
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KITLV, Redactie. "Book Reviews". New West Indian Guide / Nieuwe West-Indische Gids 76, nr 3-4 (1.01.2002): 323–79. http://dx.doi.org/10.1163/13822373-90002540.
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-Alan L. Karras, Lauren A. Benton, Law and colonial cultures: Legal regimes in world history, 1400-1900. Cambridge: Cambridge University Press, 2002. xiii + 285 pp.-Sidney W. Mintz, Douglass Sullivan-González ,The South and the Caribbean. Jackson: University Press of Mississippi, 2001. xii + 208 pp., Charles Reagan Wilson (eds)-John Collins, Peter Redfield, Space in the tropics: From convicts to rockets in French Guiana. Berkeley: University of California Press, 2000. xiii + 345 pp.-Vincent Brown, Keith Q. Warner, On location: Cinema and film in the Anglophone Caribbean. Oxford: Macmillan, 2000. xii + 194 pp.-Ann Marie Stock, Jacqueline Barnitz, Twentieth-century art of Latin America. Austin: University of Texas Press, 2001. 416 pp.-Ineke Phaf, J.J. Oversteegen, Herscheppingen: De wereld van José Maria Capricorne. Emmastad, Curacao: Uitgeverij ICS Nederland/Curacao, 1999. 168 pp.-Halbert Barton, Frances R. Aparicio, Listening to Salsa: Gender, latin popular music, and Puerto Rican cultures. Hanover NH: Wesleyan University Press, 1998. xxi + 290 pp.-Pedro Pérez Sarduy, John M. Kirk ,Culture and the Cuban revolution: Conversations in Havana. Gainesville: University Press of Florida, 2001. xxvi + 188 pp., Leonardo Padura Fuentes (eds)-Luis Martínez-Fernández, Damián J. Fernández, Cuba and the politics of passion. Austin: University of Texas Press, 2000. 192 pp.-Eli Bartra, María de Los Reyes Castillo Bueno, Reyita: The life of a black Cuban woman in the twentieth century. Durham NC: Duke University Press, 2000. 182 pp.-María del Carmen Baerga, Felix V. Matos Rodríguez, Women and urban change in San Juan, Puerto Rico, 1820-1868. Gainesville: University Press of Florida, 1999. xii + 180 pp. [Reissued in 2001 as: Women in San Juan, 1820-1868. Princeton NJ: Markus Weiner Publishers.]-Kevin A. Yelvington, Winston James, Holding aloft the banner of Ethiopa: Caribbean radicalism in early twentieth-century America. New York: Verso, 1998. x + 406 pp.-Jerome Teelucksingh, O. Nigel Bolland, The politics of labour in the British Caribbean: The social origins of authoritarianism and democracy in the labour movement. Kingston: Ian Randle; Princeton NJ: Marcus Weiner, 2001. xxii + 720 pp.-Jay R. Mandle, Randolph B. Persaud, Counter-Hegemony and foreign policy: The dialectics of marginalized and global forces in Jamaica. Albany: State University of New York Press, 2001. xviii + 248 pp.-Patrick Bellegarde-Smith, Mary A. Renda, Taking Haiti: Military occupation and the culture of U.S. imperialism, 1915-1940. Chapel Hill: University of North Carolina Press, 2001. xvi + 414 pp.-James W. St. G. Walker, Maureen G. Elgersman, Unyielding spirits: Black women and slavery in early Canada and Jamaica. New York: Garland, 1999. xvii + 188 pp.-Madhavi Kale, David Hollett, Passage from India to El Dorado: Guyana and the great migration. Madison NJ: Fairleigh Dickinson University Press, 1999. 325 pp.-Karen S. Dhanda, Linda Peake ,Gender, ethnicity and place: Women and identities in Guyana. London: Routledge, 1999. xii + 228 pp., D. Alissa Trotz (eds)-Karen S. Dhanda, Moses Nagamootoo, Hendree's cure: Scenes from Madrasi life in a new world. Leeds, UK: Peepal Tree, 2000. 149 pp.-Stephen D. Glazier, Hemchand Gossai ,Religion, culture, and tradition in the Caribbean., Nathaniel Samuel Murrell (eds)-Michiel van Kempen, A. James Arnold, A history of literature in the Caribbean. Volume 2: English- and Dutch- speaking regions. (Vera M. Kuzinski & Ineke Phaf-Rheinberger, sub-eds.).Amsterdam/Philadelphia: John Benjamins, 2001. ix + 672 pp.-Frank Birbalsingh, Bruce King, Derek Walcott: A Caribbean life. New York: Oxford University Press, 2000. ix + 714 pp.-Frank Birbalsingh, Paula Burnett, Derek Walcott: Politics and poetics. Gainesville: University Press of Florida, 2001. xiii + 380 pp.-Jeanne Garane, Micheline Rice-Maximin, Karukéra: Présence littéraire de la Guadeloupe. New York: Peter Lang, 1998. x + 197 pp.-Jeanne Garane, Marie-Christine Rochmann, L'esclave fugitif dans la littérature antillaise: Sur la déclive du morne. Paris: Karthala, 2000. 408 pp.-Alasdair Pettinger, Lizabeth Paravisini-Gebert ,Women at sea: Travel writing and the margins of Caribbean discourse. New York: Palgrave, 2001. x + 301 pp., Ivette Romero-Cesareo (eds)
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White, Ashanti. "Erotic Revolutionaries: Black Women, Sexuality and Popular Culture by Shayne Lee, and: Bulldaggers, Pansies, and Chocolate Babies: Performance, Race, and Sexuality in the Harlem Renaissance by James F Wilson". Callaloo 36, nr 2 (2013): 478–82. http://dx.doi.org/10.1353/cal.2013.0094.
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Nishikawa, Kinohi. "Driven by the Market: African American Literature after Urban Fiction". American Literary History 33, nr 2 (1.05.2021): 320–49. http://dx.doi.org/10.1093/alh/ajab008.
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Abstract Kenneth W. Warren’s What Was African American Literature? (2011) compelled literary historians to question deeply held assumptions about periodization and racial authorship. While critics have taken issue with Warren aligning African American literature with Jim Crow segregation, none has examined his account of what came after this conjuncture: namely, the market’s wholesale cooptation of Black writing. By following the career of African American popular novelist Omar Tyree, this essay shows how corporate publishers in the 1990s and 2000s redefined African American literature as a sales category, one that combined a steady stream of recognized authors with a mad dash for amateur talent. Tyree had been part of the first wave of self-published authors to be picked up by major New York houses. However, as soon as he was made to conform to the industry’s demands, Tyree was eclipsed by Black women writers who developed the hard-boiled romance genre known as urban fiction. As Tyree saw his literary fortunes fade, corporate publishing became increasingly reliant on Black book entrepreneurs to sustain the category of African American literature, thereby turning racial authorship into a vehicle for realizing profits.
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Ivankiva, Marina V. "Why read about animals: On the formation of the animal autobiography as a literary genre in the 18th–19th century British literature". Vestnik of Saint Petersburg University. Language and Literature 20, nr 3 (2023): 495–515. http://dx.doi.org/10.21638/spbu09.2023.306.
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The article presents an analysis of the genesis of the genre of animal autobiography in English literature at the turn of the 18th–19th centuries. The emergence, formation and evolution of the genre is considered in three contexts. The ideas of Adam Smith and David Hume together with the pedagogical teachings of John Locke and Sarah Trimmer form the central philosophi cal concepts of the new genre: sentimental feeling, sympathy, concern for the well-being of another living being. Comparison of the animal autobiography with “novel of circulation”, a popular in the XVIII century type of novel about adventures of a thing, focuses readers atten tion on animate and inanimate narrator which leads to the didactics of a new genre. Auto biographical narratives such as “The Life and Perambulations of a Mouse” of Dorothy Kilner, “Adventures of a Donkey” of Arabella Argus, and “Black Beauty” of Anna Sewell are studied in the context of the 18th and 19th century novel culture and since the authors of such autobiogra phies were predominantly women, who were responsible for caregiving and education, within the female narrative strategies in biographies. Written over two centuries ago by women who appropriated the voices of animals and spoke of their well-being, animal autobiographies are studied in terms of ecofeminist critique and human-animal studies. It is concluded that this genre may be regarded as an enlightenment project, which had and still has not only a didac tic, but also an emancipatory function.
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Cirucci, Angela M. "Zoom Affordances and Identity: A Case Study". Social Media + Society 9, nr 1 (styczeń 2023): 205630512211461. http://dx.doi.org/10.1177/20563051221146176.
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While how to engage students in online settings is a popular topic of study, largely left out are the ways in which virtual learning environments (VLEs) have implications for identity performance (and subsequently learning quality). This case study pairs a walkthrough analysis of Zoom with an open-ended survey ( n = 250, M = 21.5) to investigate how VLE affordances impact student identifications. Findings indicate that students prefer Zoom because it is “user-friendly,” forgoing wordy options and instead presenting a more “appified” user interface. Students were concerned about their classmates and professors seeing their physical backgrounds, particularly those who reported family incomes below $50,000. Black, Indigenous, and people of color (BIPOC) who identify as women feared being judged based on physical appearance. Overall, Zoom seems to discourage identity performance norms that are common via popular social media apps, and thus, students rarely perceive any possible identity affordances. Instead, Zoom feels different, and users are led to perceive turning on cameras, showing their live faces, and revealing their physical backgrounds as uncomfortable and not connected to their course-related needs.