Bodies that work : African American women's corporeal activism in Progressive America
著者
書誌事項
Bodies that work : African American women's corporeal activism in Progressive America
Peter Lang, c2020
大学図書館所蔵 全5件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. [157]-176) and index
収録内容
- The grassroots network of African American women : Madam C.J. Walker's hair care empire
- Vocal cords vibrating against black codes : the socio-musical activism of E. Azalia Hackley
- Mutilated womb, violated motherhood : Mary Turner and Meta Warrick Fuller's sculptural protest
- Performing savagery and civility : the subversive nudity of Josephine Baker
内容説明・目次
内容説明
Bodies That Work describes the redefinition of the invisible, fragmented, and commodified African American female body. In Progressive America, black women began to use their bodies in new ways and ventured into professions in which they had typically not been represented. They were bodies that worked—that labored, functioned, and achieved in collective empowerment and that overcame racial, ethnic, and class divides and grappled with the ideas and values of political, financial, and intellectual leadership, thereby dispelling the ingrained stereotypes of womanhood associated with slavery. Based on archival materials and historical documents, Bodies That Work examines four women who reinterpreted and reorganized the historically divided black female body and positioned it within the body politic: Sarah Breedlove Walker, or Madam C.J. Walker (1867–1919), an entrepreneur; Emma Azalia Hackley (1867–1922), an opera singer; Meta Warrick Fuller (1877–1968), a sculptor; and Josephine Baker (1906–1975), an international performer. Each reshaped a different part of the female body: the hair (Walker), the womb and hands (Fuller), the vocal cords (Hackley), and the torso (Baker), all of which had been denigrated during slavery and which continued to be devalued by white patriarchy in their time. Alleviating racial and gender prejudices through their work, these women provided alternative images of black womanhood. The book’s focus on individual body parts inspires new insights within race and gender studies by visualizing the processes by which women lost/gained autonomy, aspiration, and leadership and demonstrating how the black female body was made (in)visible in the body politic.
目次
List of Figures – Acknowledgments – Author’s Note – Introduction – The Grassroots Network of African American Women: Madam C. J. Walker’s Hair Care Empire – Vocal Cords Vibrating against Black Codes: The Socio-Musical Activism of E. Azalia Hackley – Mutilated Womb, Violated Motherhood: Mary Turner and Meta Warrick Fuller’s Sculptural Protest – Performing Savagery and Civility: The Subversive Nudity of Josephine Baker – Conclusion – Bibliography – Index.
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