Essay On Freakery By Kara Walker

In The Venus Hip Hop and the Pink Ghetto, Imani Perry argues that the over-sexualized, unattainable bodies of black women in popular culture will lead to the breakdown of feminism and the positive body image of the everyday black

This is followed by five chapters. Chapter one, “Disorderly Women and the Struggle for Authority,” explores how the non-white women of colonial North Carolina were viewed by white men and also how Quaker women existed in colonial North Carolina. Chapter two, “Cross-Cultural Sex in Native North Carolina,” explores the sexual relationships between people of different races and how the laws against intermarriage “defined racial boundaries (86).” Chapter three, “Sexual Regulation of Servant Women and Subcultures of Resistance,” explore the ideas of infanticide, pregnancy in court, and the importance of economic class in court. Chapter four, “White Reputations Blackened and Made Loose,” explores how “whiteness” became the ideal race, but “whiteness” became more of an idea rather than a physical representation. Chapter five, “Sexualized Violence and Embodiment of Rape,” analyzes the use of torture and rape in colonial North Carolina. The text ends with an epilogue refocusing on the ways the race gained multiple

In “In Search of Our Mother’s Gardens”, Alice Walker looks to educate us on the hardships that almost all black women face when trying to express themselves through things such as art. She delves into many sociological and psychological concepts that have affected black women throughout human history. These concepts and ideologies created a realm for mass exclusion, discrimination, and oppression of many African American women, including Alice Walker’s Mother, who Alice utilizes as one of her particular examples. The writing thematically aims to show how these concepts of sexism, racism, and even classism have contributed to black women’s lack of individuality, optimism, and fulfillment for generations. The author does a tremendous job of defending and expanding upon her arguments. She has a credible background, being a black woman that produces the art of literature herself. As well as being raised by one, Walker’s first-hand experience warrants high regard. Therefore, her use of abstract and introspective language is presented clearly and convincingly. Also, her use of evidence and support from sources like Jean Toomer, Virginia Woolf, and Phillis Wheatley, all produce more validity for her stance through poems, quotes, and even experiences. All these individuals have their own accounts pertaining to the oppression of black women and their individuality. Successfully arguing that the artistry plights of black women described in “In Search of Our Mother’s Gardens” are

As you begin Beauty (Re) discovers the Male Body your read of author Susan Bordo spilling her morning coffee over a shockingly sexual advisement of a nude man. Initially, I rolled my eyes and settled in assuming, I was going to read about the tragedy of how men are now being objectified and exposed in adverting like women. As I flip through the pages looking at the scantily clad images I’m not really shocked; this essay was written fifteen years ago; I see these kinds of images going to the mall. What was shocking, however, was how Bordo a published, woman philosopher born in 1947 wrote about these images. I felt myself blush as I read “it seems slightly erect, or perhaps that’s his nonerect size, either way, there’s a substantial presence

White explores the master’s sexual exploitation of their female slaves, and proves this method of oppression to be the defining factor of what sets the female slaves apart from their male counterparts. Citing former slaves White writes, “Christopher Nichols, an escaped slave living in Canada, remembered how his master laid a woman on a bench, threw her clothes over her head, and whipped her. The whipping of a thirteen-year-old Georgia slave girl also had sexual overtones. The girl was put on all fours ‘sometimes her head down, and sometimes up’ and beaten until froth ran from her mouth (33).” The girl’s forced bodily position as well as her total helplessness to stop her master’s torture blatantly reveals the forced sexual trauma many African females endured.

By employing themes such as psychosexual fantasies, race, gender, and violence, artist Kara Walker reconstructs and explores the history and effects of American slavery on American culture. Although being called names like notorious, revolting, anti-progressive, and shameless, she continues to be a pioneer of bringing the unspeakable aspects of American slavery that are not commonly discussed and are left out of the history books to the foreground of public discussion.

This critical reflection will focus the very interesting things that were written about women and their role in that resistance of slavery in “Reflections on the Black Woman's Role in the Community of Slaves” by Angela Davis and “Hard Labour: Women, Childbirth and Resistance in British Caribbean Slave Societies” by Barbara Bush-Slimani. Both authors focus on the fact that women are never recognized as being apart of slave revolts and sometimes are barely mentioned at all. Although both agree that there was a lot resistance on the women’s part they focus on different ways they expressed that resistance. Angela Davis speaks about visible acts of resistance and how treating black women no different than black men affected their actions. On the

Since the dawn of early civilisation and subsequent traditional gender roles, one of the most prominent issues with which society struggles is gender inequality. The Book of Negroes illustrates Aminata’s worries as she is provided only one option: to entertain men with her body. “...I wondered how I would earn enough for food, clothes and repairs for my shelter. ‘What?’ Sam said. ‘You think rebels don’t have brothels? As long as there are fighting men, there will be work for girls like Rosetta - and work for you as well.’” (Hill 312) British soldiers and American rebels both sexualised the bodies of black women to the point of encouraging the prostitution of young girls. In a similar context, a 2008 study conducted by researchers from Wesleyan

The essay "In Search of Our Mother's Gardens" by contemporary American novelist Alice Walker is one that, like a flashbulb, burns an afterimage in my mind. It is an essay primarily written to inform the reader about the history of African American women in America and how their vibrant, creative spirit managed to survive in a dismal world filled with many oppressive hardships. This piece can be read, understood, and manage to conjure up many emotions within the hearts and minds of just about any audience that reads it. However, Walker targets African American women in today's society in an effort to make them understand their heritage and appreciate what their mothers and grandmothers endured to

In The Book of Night Women by Marlon James, James shows readers the Jamaican sugar plantation that occurred during the 19th century. James shapes his plot as close to the ruthless actualities of slavery it imposes on people, and there are two perspectives that touch on this idea too: “A revenge tragedy for our times” by Donna Bailey Nurse and “RACISM IN THE BOOK OF NIGHT WOMEN” by VS Agami. In James’ novel, the protagonist, Lilith, is a dark-skinned slave who struggles to surpass the violence into which she is born. Through the motif of circles and Lilith’s slave experiences, James portrays a structure of human oppression in slavery, achieved through his writing style, which leads to violence being the only outcome.

Mammie, Jezebel, and the ever ready prostitute and Sapphire. In “Four Women” Nina Simone links the history of black women in America as defined

Although embracement or celebrations of this stereotypically black feature may empower these women who reverse or redirect the hegemonic gaze that had been centered on their backsides for so long, these Eurocentric derived presumptions and idealizations of female blackness, nevertheless, remain. However, attempts to redefine these social constructions, while accentuating this feature Beyoncé refers to as “bootylicious,” has transformed beauty industries and ideas of sexual desirability which “subverts social hierarchies and normalcy” (Hobson 88). These redefinitions of beauty, more specifically, black beauty, from the “grotesque, carnivalesque body,” (Hobson 88) seeks “a healthier body image than their white counterparts” who are exclusively depicted as slender and petite (Durham 36-37). Thus, black women begin to visualize their own bodies and other black women bodies in ways that lead to non-sexualized, non-deviant conclusions. Challenging these “controlling images,” as Patricia Hill Collins identifies in Hobson’s article, only “unmirrors” black femininity and its history, a term Hobson cited from black artist and theorist, Lorraine O’Grady, because in order to “name ourselves rather than be named we must first see ourselves” (89). She later adds

Throughout history, black female bodies have been marginalized by white society and viewed as only being valued for their bodies, specifically their genitals. bell hooks’ essay titled, “naked without shame: a counter-hegemonic body politic”, discusses the domination of the black female body and how there is little discussion on how the body has been “foregrounded as a site of conquest in all efforts of colonization”. According to hooks, black bodies are rarely highlighted in a way that counters the hegemonic representation of being

The women of the late sixties, although some are older than others, in Alice Walker’s fiction that exhibit the qualities of the developing, emergent model are greatly influenced through the era of the Civil Rights Movement. Motherhood is a major theme in modern women’s literature, which examines as a sacred, powerful, and spiritual component of the woman’s life. Alice Walker does not choose Southern black women to be her major protagonists only because she is one, but because she had discovered in the tradition and history they collectively experience an understanding of oppression that has been drawn from them a willingness to reject the principle and to hold what is difficult. Walker’s most developed character, Meridian, is a person

There is some disparity between the way critics and philosophers like Judith Butler view Cindy Sherman's work and the way that Cindy Sherman speaks of her photographs. It may be the disparity that exists between many modern artists, who often operate on an intuitive level, and the philosopher critics who comment upon them from a theoretical perspective or a pre-established framework. On one level, Cindy Sherman may only be playing "dress-up" (as she herself admits) in her famous History Portraits (1989-90) (Berne, 2003). On another level, however, her "dressing-up" may be indicative of a deeper problem in modern gender identity theory which is the problem of "becoming" woman (Butler, 1994) or, as Judith Butler sees it, the problem of performativity. In the History Portraits, Sherman may certainly be said to be "performing" and perhaps even attempting to "become" the male and female characters she represents in her work. Indeed, it is upon such a premise that philosopher critics and gender theorists find her work so engaging. This paper will examine Cindy Sherman and her History Portraits in relation to Judith Butler's gender theory, the portrayal of the self, and how gender identity has changed throughout the course of modern history. It will examine representations of womanhood from Romantic Idealism to Post-Modernism and will also