Couwenbergh’s The Rape of the Negress

IF 0.2 Q4 WOMENS STUDIES Meridians-Feminism Race Transnationalism Pub Date : 2023-04-01 DOI:10.1215/15366936-10220524
Amey Victoria Adkins-Jones
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Abstract

This essay analyzes Christiaen van Couwenbergh’s The Rape of the Negress (1632). The author argues the image as theological artifact, capturing the emergence of a white colonial gaze and the Dutch state concern of Christian piety as an emerging colonial power. The article reviews the context of the image and the art reception history that resisted naming it an image of rape. The author juxtaposes the painting with a Marian statue hidden and thus saved from the Dutch iconoclasm—now one of the most famous Black Madonnas in Europe—to locate theologically the process of colonial unseeing and the refusal to name Black female flesh as sacred. She rereads these visual artifacts through the question of iconicity, and claim these images as sites of Black feminist fugitivity and resistance.
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考文伯格的《强奸黑人
本文分析了克里斯蒂安·范·考文伯格的《强奸黑人》(1632)。作者认为这幅图像是神学上的人工制品,捕捉到了白人殖民者的目光和荷兰国家对基督教虔诚作为新兴殖民力量的关注。文章回顾了这幅图像的背景和拒绝将其命名为强奸图像的艺术接受历史。作者将这幅画与一尊隐藏起来的玛丽安雕像并置,并因此从荷兰的反偶像主义中获救——现在是欧洲最著名的黑人圣母像之一——从神学上定位了殖民时期的视而不见和拒绝将黑人女性肉体称为神圣的过程。她通过象似性的问题重新解读了这些视觉文物,并声称这些图像是黑人女权主义逃亡和抵抗的场所。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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CiteScore
0.50
自引率
0.00%
发文量
24
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