The Theme Of Power In Nina Simone : Four Women

The book goes through Jeannette’s life exposing the mistakes she, her siblings, and her parents made to become the family they were. As her life grows older, Jeannette finds herself in more responsible positions in the world, with editing school newspapers, to writing columns in a small New York newspaper outlet. Her troubles have raised the issue of stereotyping, a widely held but fixed and oversimplified image or idea of a particular type of person or thing. Due to her status in her childhood, it was not hard for her to fit in with the other members of the poor community. “Dinitia explained that I was with her and that I was good people. The women looked at one another and shrugged.” (Walls 191) The quote talks about how members of the black community in Welch accepted Jeannette to go swimming with them in the morning hours before the white people went in the afternoon. The people who knew Dinita, Jeannette’s friend, knew that Dinita was trustworthy, and let Jeannette pass. This relates to the thesis because it shows how she was accepted amongst the people who were

“I am a black feminist… I recognize that my power as well as my primary obsessions come as a result of my blackness as well as my womaness, and therefore my struggles on both of these fronts are inseparable” … As a woman of color, I find that some feminists don’t seem terribly concerned with the issues unique to women of color—the ongoing effects of racism and post-colonialism, the status of women in the Third World, working against the trenchant archetypes black women are forced into (angry black woman, mammy, hottentot, and the like). (Gay 173).

Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment. Ed. By Patricia Hill Collins. (New York: Routledge, 2000. ii, 336 pp. Cloth, $128.28, ISBN 0-415-92483-9. Paper, $26.21, 0-415-92484-7.)

This gives the audience many altered ways that they, personally, can interpret the play from. Allowing for many different opinions on a single passage whether they may be relevant or not. Out of many different perspectives, Marxist, has an important part within the play, separating the ‘upper’ and ‘lower’ classes, creating a divide between the stereotype white people and the archetypal black culture. This perspective plays a vital role, beginning at the very start of the play right through till the closing stages. It sets the scene, making the divide between the two ‘different’ cultures, in which over the course of the play, slowly gets bridged with the uncovering of the forgotten stories, told by the Aboriginal Ex-servicemen. Bringing men closer together through the hard times that they had endured together. As the text starts, it begins with an easy to spot, element of Marxism, pushed by the white Vs Black component in the early stages of the book, with name calling and bullying. As the text continues, the element of Marxism is still present but less obvious, with the uncovering of lost and untold stories which bring the segregation between the two cultures of white and black, stereotype and archetype to an

To be a woman meant that one had no say in regards to political affairs or in government making decisions. If being a woman had limitations, imagine what a black woman experienced, as they were considered less than human and mistreated more than any other female from any different background. In “A Plea for the Oppressed”, Lucy Stanton, one such black woman, tried to avail her people’s plight upon an audience of white women, to support the antislavery and reform cause.

When all the men went into town, she started to spending time with characters whom she believes that are “weak”: “They left all the weak ones here”; They are Lennie, Candy and Crooks. by hanging out with them , she feels that she has power over them. When Crooks ordered her to get out of his room, she had threatened him and reminded him that he’s a negro and she is the wife of the boss’s son. The author wants us to know the position of white women in the society in that time generally.

In the exhibition there was a video playing that discusses racial discrimination and how viola Desmond was treated like she was not a real person. It suggests that her story has changed history, fearless in the face of racism and injustice her story tries to break barriers between black people and white people.

As a result, the black feminist movement developed, where black women were the sole leaders of the movement that liberated all people. Many black women believed that it was counterproductive for the Civil Rights Movement to neglect the needs of black woman because black men continued to use the same systemic oppression that white people used against them on black women. In “I Am a Revolutionary Black Woman,” Angela Davis writes that “black women constitute the most oppressed sector of society” (Davis 461). It is evident that black women have been super exploited by American society economically, sexually, and politically, making them the lowest on the social hierarchy. Because of black women’s low social standing, if the black woman is liberated, then everyone else will follow, which will ensure the liberation of all people. Thus, Davis argues that “women’s liberation is especially critical with respect to the effort to build an effective black liberation movement” (461). Unlike Hamer, Davis believes that black women should liberate themselves from the black man if they are too oppressive like the white man; black men should be held accountable for their chauvinistic efforts, and should embrace the fight for liberation of women just as black women supported the liberation of black men.

Hull and Barbra Smith provided four issues that seem important for a consideration of the politics of Black women’s studies: “(1) the general political situation of Afro-American women and the bearing this has had upon the implementation of Black women’s studies; (2) the relationship of Black women’s studies to Black feminist politics and the Black feminist movement; (3) the necessity for Black women’s studies to be feminist, radical and analytical; and (4) the need for teachers of Black women’s studies to be aware or our problematic political positions in the academy and of the potentially conditions under which we must work” (Hull, Smith 187). These concepts are stepping stones to developing a better image for African American females. If society applied these, women would have a more even-chance to pursue what they believe in.

"Our politics initially sprang from the shared belief that Black women are inherently valuable, that our liberation is a necessity not as an adjunct to somebody else 's may because of our need as human persons for autonomy". The opening of the second part of The Combahee River Collective Statement, What We Believe, expresses one of the major will of the Third World Feminist studies: making Women a topic of research in its own rights. It 's in 1977 that the Combahee River Collective, a US radical feminist lesbian group, wrote this very famous manifesto that became essential for the Black Feminism Mouvement. They made as central the total recognition of the different forms of oppressions, sexual, racial, social, that black women endure and the necessity to fight against them. Therefore, the integration of notions of gender, sexuality, race, class in any feminist analysis that deals with power and domination become unavoidable. They express clearly the logical result of their struggle, the destruction of the political, social and economical system as they are the representative basis of an unfair and racist society. To bring a fresh way of looking at the position of some women in the American society turn to be a way to consider differently the organisation and the functioning of the actors of a society on a national and also international level.

Contemporary realism can be defined as a straightforward realistic approach of representation. This play does exactly that. This play takes place during a civil war, and Nottage gives realistic examples of what it was like to live as a female during that time. To understand why the characters act they way they do, you have to see what shaped them into the person they are. In contemporary realism, the characters are all products of their society. The leading female characters in this play are Mama Nadi, Sophie, Salima, and Josephine. Before the war, all four of these women had happy lives filled with content, but in the heat of the war all of them were stripped of something they treasured. For example, Salima’s baby was murdered, and Josephine was taken away from her family who were the head of their tribe. The way these characters acted during the play was completely affected by their past. Another characteristic of realism is the belief that experiences are conditioned by society, and no one is truly free until they understand what is holding them back.

In an attempt to define Black Feminism, Collins clarifies that it must “avoid the idealist position that ideas can be evaluated in isolation from the groups that create them (Collins 385).” This clarification forms her basis for why Black Feminism is necessary, and who it serves. Thinking about feminism historically, the concerns of black women were pushed aside in favor of fighting sexism; a notable example occurs within the Suffrage movement, where votes for white women were prioritized over women of color in order to push such legislation through. And even when feminism began looking at other social injustices, such as racism and class issues, often only prominent feminists were invited to the discussion. What resulted was, and often continues to be, a problem of white women speaking for oppressed people. It’s impossible, Collins argues, to have Black Feminist thought without examining the experiences and positions of African American women. Therefore, Black Feminism must be a movement that “encompasses theoretical interpretations of Black women’s reality by those who live in it (Collins 386).” However, such a definition brings about many questions:

In an attempt to define Black Feminism, Collins clarifies that it must “avoid the idealist position that ideas can be evaluated in isolation from the groups that create them (Collins 385).” In reality, this forms her basis for why Black Feminism is necessary, and who it serves. Thinking about feminism historically, the concerns of black women were pushed aside in favor of fighting sexism, most notably during the Suffrage movement. And even when feminism began looking at other social injustices, such as racism and class issues, only prominent feminists were invited to the discussion. What resulted was, and often continues to be, a problem of white women speaking for oppressed people. It’s impossible, Collins argues, to have Black Feminist thought without examining the experiences and positions of African American women. Therefore, Black Feminism must be a movement that “encompasses theoretical interpretations of Black women’s reality by those who live in it (Collins 386).” However, such a definition brings about many questions: who’s experiences are valued, how do black women take their voice back, and how can they center feminist thinking on their own unique standpoint?

Like many people in the world, the characters in Tennessee William’s play, A Streetcar Named Desire, are troubled by anxiety and insecurities. Life in New Orleans during the 1940s was characterized by the incredible variety of music, lively and bright atmosphere, and diverse population, while in the midst of the ongoing World War II. Culture was rich and fruitful because the city developed into a “melting pot” of people from all over the world. Due to the wide-range in population, the people of New Orleans adopted an identity like no other. Instead of their identity being entirely pieced together, almost like a puzzle, the people took on one that was shared by the entire community. However, with this being said, people had the ability to use this to their advantage and mask their true selves. This idea translates well into the play A Streetcar Named Desire, and is exhibited through the character Blanche. In A Streetcar Named Desire, Tennessee Williams uses the theme of vanity to reveal the importance of appearance, and the insecurities of Blanche and how they influence her actions.

As African-American women address social issues that are important to their life experiences, such as class and race, instead to acknowledge “common oppression” of gender inequality, they are often criticized by “white bourgeois feminists” (hooks, 2000). Their ability to gain any form of equality within society is tarnished by such groups as they develop a “fear of encountering racism” from simply joining this movement (hooks, 2000). As white men, black men, and white women oppress them, their issues are often ignored due to reoccurring stereotypes and myths that claim black women are strong, independent, and “superhuman” (hooks, 2000). It becomes extremely difficult to seek liberation and equity within a “racist, sexist, and classist” society, as their gender and race causes them to be at the “bottom of the occupational ladder” and “social status” (hooks, 2000, pg. 16). As black women are perceived to demonstrate strength and dynamic qualities as white women perpetrate the image of being