|
Showing 1 - 10 of
10 matches in All Departments
The first comprehensive companion to the key contemporary analytic
in US feminist thought includes a range of diverse scholars from a
range on disciplinary fields outlines major debates and definitions
of intersectionality
|
Feminism's Bad Objects
Samantha Pinto, Jennifer C. Nash
|
R419
Discovery Miles 4 190
|
Ships in 12 - 17 working days
|
Topics covered include racial politics in feminist theory and
practice; critical masculinity; the relationship between feminism
and masculinity; abolition politics; the meaning of “TERFâ€
(trans-exclusionary radical feminist) and its implications for
feminist theory, practice, and politics. Contributors Aren Aizura,
Leticia Alvarado, Heather Berg, Marquis Bey, Sarah Bey-West, Andrew
Cutrone, Ramzi Fawaz, Lisa Guenther, Huey Hewitt, Candice Merritt,
Durba Mitra, Jennifer C. Nash, Emily Owens, Samantha Pinto, Robyn
Wiegman Â
This book investigates the imaginative capacities of literature,
art and culture as sites for reimagining human rights, addressing
deep historical and structural forms of belonging and unbelonging;
the rise of xenophobia, neoliberal governance, and securitization
that result in the purposeful precaritization of marginalized
populations; ecological damage that threatens us all, yet the
burdens of which are distributed unequally; and the possibility of
decolonial and posthuman approaches to rights discourses. The book
starts from the premise that there are deep-seated limits to the
political possibilities of state and individual sovereignty in
terms of protecting human rights around the world. The essays
explore how different forms, materials, perspectives, and
aesthetics can help reveal the limits of normative human rights and
contribute to the cultural production of new human rights
imaginaries beyond the borders of state and self.
The countless retellings and reimaginings of the private and public
lives of Phillis Wheatley, Sally Hemings, Sarah Baartman, Mary
Seacole, and Sarah Forbes Bonetta have transformed them into
difficult cultural and black feminist icons. In Infamous Bodies,
Samantha Pinto explores how histories of these black women and
their ongoing fame generate new ways of imagining black feminist
futures. Drawing on a variety of media, cultural, legal, and
critical sources, Pinto shows how the narratives surrounding these
eighteenth- and nineteenth-century celebrities shape key political
concepts such as freedom, consent, contract, citizenship, and
sovereignty. Whether analyzing Wheatley's fame in relation to
conceptions of race and freedom, notions of consent in Hemings's
relationship with Thomas Jefferson, or Baartman's ability to enter
into legal contracts, Pinto reveals the centrality of race, gender,
and sexuality in the formation of political rights. In so doing,
she contends that feminist theories of black women's vulnerable
embodiment can be the starting point for future progressive
political projects.
Winner of the 2013 Modern Language Association's William Sanders
Scarborough Prize for Outstanding Scholarly Study of Black American
Literature In this comparative study of contemporary Black Atlantic
women writers, Samantha Pinto demonstrates the crucial role of
aesthetics in defining the relationship between race, gender, and
location. Thinking beyond national identity to include African,
African American, Afro-Caribbean, and Black British literature,
Difficult Diasporas brings together an innovative archive of
twentieth-century texts marked by their break with conventional
literary structures. These understudied resources mix genres, as in
the memoir/ethnography/travel narrative Tell My Horse by Zora Neale
Hurston, and eschew linear narratives, as illustrated in the
book-length, non-narrative poem by M. Nourbese Philip, She Tries
Her Tongue, Her Silence Softly Breaks. Such an aesthetics, which
protests against stable categories and fixed divisions, both
reveals and obscures that which it seeks to represent: the
experiences of Black women writers in the African Diaspora. Drawing
on postcolonial and feminist scholarship in her study of authors
such as Jackie Kay, Elizabeth Alexander, Erna Brodber, Ama Ata
Aidoo, among others, Pinto argues for the critical importance of
cultural form and demands that we resist the impulse to prioritize
traditional notions of geographic boundaries. Locating
correspondences between seemingly disparate times and places, and
across genres, Pinto fully engages the unique possibilities of
literature and culture to redefine race and gender studies.
This book investigates the imaginative capacities of literature,
art and culture as sites for reimagining human rights, addressing
deep historical and structural forms of belonging and unbelonging;
the rise of xenophobia, neoliberal governance, and securitization
that result in the purposeful precaritization of marginalized
populations; ecological damage that threatens us all, yet the
burdens of which are distributed unequally; and the possibility of
decolonial and posthuman approaches to rights discourses. The book
starts from the premise that there are deep-seated limits to the
political possibilities of state and individual sovereignty in
terms of protecting human rights around the world. The essays
explore how different forms, materials, perspectives, and
aesthetics can help reveal the limits of normative human rights and
contribute to the cultural production of new human rights
imaginaries beyond the borders of state and self.
The countless retellings and reimaginings of the private and public
lives of Phillis Wheatley, Sally Hemings, Sarah Baartman, Mary
Seacole, and Sarah Forbes Bonetta have transformed them into
difficult cultural and black feminist icons. In Infamous Bodies,
Samantha Pinto explores how histories of these black women and
their ongoing fame generate new ways of imagining black feminist
futures. Drawing on a variety of media, cultural, legal, and
critical sources, Pinto shows how the narratives surrounding these
eighteenth- and nineteenth-century celebrities shape key political
concepts such as freedom, consent, contract, citizenship, and
sovereignty. Whether analyzing Wheatley's fame in relation to
conceptions of race and freedom, notions of consent in Hemings's
relationship with Thomas Jefferson, or Baartman's ability to enter
into legal contracts, Pinto reveals the centrality of race, gender,
and sexuality in the formation of political rights. In so doing,
she contends that feminist theories of black women's vulnerable
embodiment can be the starting point for future progressive
political projects.
The post-civil rights era of the 1970s offered African Americans an
all-too-familiar paradox. Material and symbolic gains contended
with setbacks fueled by resentment and reaction. African American
artists responded with black approaches to expression that made
history in their own time and continue to exercise an enormous
influence on contemporary culture and politics. This collection's
fascinating spectrum of topics begins with the literary and
cinematic representations of slavery from the 1970s to the present.
Other authors delve into visual culture from Blaxploitation to the
art of Betye Saar to stage works like A Movie Star Has to Star in
Black and White as well as groundbreaking literary works like
Corregidora and Captain Blackman. A pair of concluding essays
concentrate on institutional change by looking at the Seventies
surge of black publishing and by analyzing Ntozake Shange's for
colored girls. . . in the context of current controversies
surrounding sexual violence. Throughout, the writers reveal how
Seventies black cultural production anchors important contemporary
debates in black feminism and other issues while spurring the black
imagination to thrive amidst abject social and political
conditions. Contributors: Courtney R. Baker, Soyica Diggs Colbert,
Madhu Dubey, Nadine Knight, Monica White Ndounou, Kinohi Nishikawa,
Samantha Pinto, Jermaine Singleton, Terrion L. Williamson, and Lisa
Woolfork
The post-civil rights era of the 1970s offered African Americans an
all-too-familiar paradox. Material and symbolic gains contended
with setbacks fueled by resentment and reaction. African American
artists responded with black approaches to expression that made
history in their own time and continue to exercise an enormous
influence on contemporary culture and politics. This collection's
fascinating spectrum of topics begins with the literary and
cinematic representations of slavery from the 1970s to the present.
Other authors delve into visual culture from Blaxploitation to the
art of Betye Saar to stage works like A Movie Star Has to Star in
Black and White as well as groundbreaking literary works like
Corregidora and Captain Blackman. A pair of concluding essays
concentrate on institutional change by looking at the Seventies
surge of black publishing and by analyzing Ntozake Shange's for
colored girls. . . in the context of current controversies
surrounding sexual violence. Throughout, the writers reveal how
Seventies black cultural production anchors important contemporary
debates in black feminism and other issues while spurring the black
imagination to thrive amidst abject social and political
conditions. Contributors: Courtney R. Baker, Soyica Diggs Colbert,
Madhu Dubey, Nadine Knight, Monica White Ndounou, Kinohi Nishikawa,
Samantha Pinto, Jermaine Singleton, Terrion L. Williamson, and Lisa
Woolfork
In this comparative study of contemporary Black Atlantic women
writers, Samantha Pinto demonstrates the crucial role of aesthetics
in defining the relationship between race, gender, and location.
Thinking beyond national identity to include African, African
American, Afro-Caribbean, and Black British literature, Difficult
Diasporasbrings together an innovative archive of twentieth-century
texts marked by their break with conventional literary structures.
These understudied resources mix genres, as in the
memoir/ethnography/travel narrativeTell My Horseby Zora Neale
Hurston, and eschew linear narratives, as illustrated in the
book-length, non-narrative poem by M. Nourbese Philip, She Tries
Her Tongue, Her Silence Softly Breaks. Such an aesthetics, which
protests against stable categories and fixed divisions, both
reveals and obscures that which it seeks to represent: the
experiences of Black women writers in the African Diaspora.Drawing
on postcolonial and feminist scholarship in her study of authors
such as Jackie Kay, Elizabeth Alexander, Erna Brodber, Ama Ata
Aidoo, among others, Pinto argues for the critical importance of
cultural form and demands that we resist the impulse to prioritize
traditional notions of geographic boundaries. Locating
correspondences between seemingly disparate times and places, and
across genres, Pinto fully engages the unique possibilities of
literature and culture to redefine race and gender studies.Samantha
Pintois Assistant Professor of Feminist Literary and Cultural
Studies in the English Department at Georgetown University.In
theAmerican Literatures Initiative
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|