The purpose of this paper is to examine the history of Cleopatra VII, as well as how and why she wanted to be depicted in a certain manner with respect to visual art. As the last noble of the Ptolemaic Dynasty, her images communicate her political abilities, her religious fervor, her maternal obligations and obstinacy in perpetuating royal lineage, and her direct connection to ancient Egyptian gods. Additionally, by consummating relationships with two of the most powerful men in ancient Roman history (Julius Caesar and Mark Antony), she was able to cultivate her skills as an influential pharaoh, equal to that of her male counterparts, and solidify her status as pharaoh. In exploring the multicultural facets of her images, I argue that not only did they not function solely as objects of aesthetic pleasure, they also appealed to a broad audience so as to communicate her level of influence as recognized not only in Egypt, but throughout the Mediterranean world.
{"title":"Reading Cleopatra VII: The Crafting of a Political Persona","authors":"A. Delaney","doi":"10.32727/25.2019.10","DOIUrl":"https://doi.org/10.32727/25.2019.10","url":null,"abstract":"The purpose of this paper is to examine the history of Cleopatra VII, as well as how and why she wanted to be depicted in a certain manner with respect to visual art. As the last noble of the Ptolemaic Dynasty, her images communicate her political abilities, her religious fervor, her maternal obligations and obstinacy in perpetuating royal lineage, and her direct connection to ancient Egyptian gods. Additionally, by consummating relationships with two of the most powerful men in ancient Roman history (Julius Caesar and Mark Antony), she was able to cultivate her skills as an influential pharaoh, equal to that of her male counterparts, and solidify her status as pharaoh. In exploring the multicultural facets of her images, I argue that not only did they not function solely as objects of aesthetic pleasure, they also appealed to a broad audience so as to communicate her level of influence as recognized not only in Egypt, but throughout the Mediterranean world.","PeriodicalId":166107,"journal":{"name":"Kennesaw Journal of Undergraduate Research","volume":"103 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133640031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Who owns antiquities? This question has plagued the global community in recent times and has opened dialogues between former colonial Western countries and their past colonized nations whose property is exhibited. This essay examines the conflicting perspectives of ownership in the repatriation of the Bust of Nefertiti between Berlin, Germany and Egypt. By analyzing the effects of European occupation in Egypt and the Western dominance in foreign cultures during the Age of Imperialism, a moral argument arises questioning the legality of the Bust’s removal. This article will review the historical significance of the Bust of Nefertiti in terms of its original intent as well as its removal to Germany and transformation into a global artwork and how this has affected her proposed return to Egyptian ownership.
{"title":"Repatriating the Bust of Nefertiti: A Critical Perspective on Cultural Ownership","authors":"Lauren Bearden","doi":"10.32727/25.2019.7","DOIUrl":"https://doi.org/10.32727/25.2019.7","url":null,"abstract":"Who owns antiquities? This question has plagued the global community in recent times and has opened dialogues between former colonial Western countries and their past colonized nations whose property is exhibited. This essay examines the conflicting perspectives of ownership in the repatriation of the Bust of Nefertiti between Berlin, Germany and Egypt. By analyzing the effects of European occupation in Egypt and the Western dominance in foreign cultures during the Age of Imperialism, a moral argument arises questioning the legality of the Bust’s removal. This article will review the historical significance of the Bust of Nefertiti in terms of its original intent as well as its removal to Germany and transformation into a global artwork and how this has affected her proposed return to Egyptian ownership.","PeriodicalId":166107,"journal":{"name":"Kennesaw Journal of Undergraduate Research","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124848987","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This pilot study compared the perceptions of beauty among Chinese women who were exchange students in the United States with Chinese women who were students in their homeland. We interviewed 19 women in China and 19 women in the United States to determine differences in responses. In accordance with the sociocultural approach and the social comparison approach, we expected Chinese women in the United States to have a be more acculturate, more frequently conclude that American women were more beautiful than Chinese women, be more likely than those studying in China to report body dissatisfaction, be more likely to dislike and desire to alter body parts that specifically reflect American beauty ideals, and express a greater desire to surgically alter their bodies. Results indicated that participants in the United States group were more likely to reflect some American beauty standards (particularly their desires to lose weight and to be taller), while maintaining those of their own culture (the importance of facial appearance), as well. Suggestions for future research and practice, particularly for mental health workers on college campuses with growing populations of Chinese exchange students, are discussed.
{"title":"Perceptions of Beauty Among Female Chinese Students in the United States and China","authors":"C. R. Staley, G. Zhan","doi":"10.32727/25.2019.1","DOIUrl":"https://doi.org/10.32727/25.2019.1","url":null,"abstract":"This pilot study compared the perceptions of beauty among Chinese women who were exchange students in the United States with Chinese women who were students in their homeland. We interviewed 19 women in China and 19 women in the United States to determine differences in responses. In accordance with the sociocultural approach and the social comparison approach, we expected Chinese women in the United States to have a be more acculturate, more frequently conclude that American women were more beautiful than Chinese women, be more likely than those studying in China to report body dissatisfaction, be more likely to dislike and desire to alter body parts that specifically reflect American beauty ideals, and express a greater desire to surgically alter their bodies. Results indicated that participants in the United States group were more likely to reflect some American beauty standards (particularly their desires to lose weight and to be taller), while maintaining those of their own culture (the importance of facial appearance), as well. Suggestions for future research and practice, particularly for mental health workers on college campuses with growing populations of Chinese exchange students, are discussed.","PeriodicalId":166107,"journal":{"name":"Kennesaw Journal of Undergraduate Research","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114900700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The concept of monsters is ubiquitous across cultures, but there has been little research on monsters themselves and what factors shape people’s attitudes toward them. Kennesaw State University undergraduate psychology students (N = 450) read unbiased, positively biased, or negatively biased reports of one of 15 fictional monsters before all participants read identical stories about an encounter with the monster. Questionnaire responses indicated that reading a negatively biased report results in significantly more negative attitudes toward a monster than reading an unbiased report, that attitudes toward animals positively correlate with attitudes toward monsters, and that attitudes toward monsters differ depending on what real-life animals they most resemble. The results provide a greater understanding of how humans perceive and react to unfamiliar nonhumans, specifically those with characteristics of various animals, and suggest that research on animal-like monsters can elucidate human perceptions of real-life animals. Applications include identifying the best methods to counteract negative media images of animals, discovering a culture’s views on animals through the monsters in its folklore, and identifying in advance which unfamiliar endangered animals likely need the most publicity in order to engender public support.
{"title":"Attitudes Toward Monsters","authors":"Jonathan R Gaber, S. Mallavarapu, B. Kirsner","doi":"10.32727/25.2019.9","DOIUrl":"https://doi.org/10.32727/25.2019.9","url":null,"abstract":"The concept of monsters is ubiquitous across cultures, but there has been little research on monsters themselves and what factors shape people’s attitudes toward them. Kennesaw State University undergraduate psychology students (N = 450) read unbiased, positively biased, or negatively biased reports of one of 15 fictional monsters before all participants read identical stories about an encounter with the monster. Questionnaire responses indicated that reading a negatively biased report results in significantly more negative attitudes toward a monster than reading an unbiased report, that attitudes toward animals positively correlate with attitudes toward monsters, and that attitudes toward monsters differ depending on what real-life animals they most resemble. The results provide a greater understanding of how humans perceive and react to unfamiliar nonhumans, specifically those with characteristics of various animals, and suggest that research on animal-like monsters can elucidate human perceptions of real-life animals. Applications include identifying the best methods to counteract negative media images of animals, discovering a culture’s views on animals through the monsters in its folklore, and identifying in advance which unfamiliar endangered animals likely need the most publicity in order to engender public support.","PeriodicalId":166107,"journal":{"name":"Kennesaw Journal of Undergraduate Research","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127871177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of my research concerning the super heroine Wonder Woman is to identify the circumstances under which the comic was created, why its creator was set on using the medium of comics, the messages he was trying to communicate to American society regarding the roles of women, and why it has maintained its fan base from the 1940s to the present. My use of feminist and iconographic analysis provided me with a wealth of information concerning how this avant-garde comic series contested the widely accepted conventions concerning women with its sarcastic images and pejorative text. Creator William Moulton Marston in collaboration with comic artist Harry Peter set into motion a wave of feminist nuances within their comic run of Wonder Woman that aided the epoch of female empowerment during the 1940s. The text coupled with the artwork created a cohesive whole upon which the creative team could instill their views on contemporary society. Wonder Woman's personage gave both men and women an icon of what a woman was capable of should she possess an air of social, political, and sexual autonomy. I came to the conclusion that upon creation, Marston infused an image of a strong-willed woman among his contemporaries that he hoped would one day overtake its widely traditional submissive counterpart, and not only in the realm of comics.
{"title":"Wonder Woman: Feminist Icon of the 1940s","authors":"A. Delaney","doi":"10.32727/25.2019.8","DOIUrl":"https://doi.org/10.32727/25.2019.8","url":null,"abstract":"The purpose of my research concerning the super heroine Wonder Woman is to identify the circumstances under which the comic was created, why its creator was set on using the medium of comics, the messages he was trying to communicate to American society regarding the roles of women, and why it has maintained its fan base from the 1940s to the present. My use of feminist and iconographic analysis provided me with a wealth of information concerning how this avant-garde comic series contested the widely accepted conventions concerning women with its sarcastic images and pejorative text. Creator William Moulton Marston in collaboration with comic artist Harry Peter set into motion a wave of feminist nuances within their comic run of Wonder Woman that aided the epoch of female empowerment during the 1940s. The text coupled with the artwork created a cohesive whole upon which the creative team could instill their views on contemporary society. Wonder Woman's personage gave both men and women an icon of what a woman was capable of should she possess an air of social, political, and sexual autonomy. I came to the conclusion that upon creation, Marston infused an image of a strong-willed woman among his contemporaries that he hoped would one day overtake its widely traditional submissive counterpart, and not only in the realm of comics.","PeriodicalId":166107,"journal":{"name":"Kennesaw Journal of Undergraduate Research","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126291857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dorothy Noyes, in her essay "Tradition: Three Traditions," notes that the word "tradition" implies "handing over" or "delivery" (Noyes 233). Furthermore, tradition is identified as a communal belonging that involves "the transfer of responsibility for a valued practice or performance" from one generation to the next (233). This essay will apply the characteristics and role of "tradition," outlined by Noyes and others, to develop a critical understanding of two acts of oral tradition pivotal to the spiritual transformation of Avey Johnson, the protagonist of Paule Marshall's Praisesong for the Widow. These two interconnected acts, the story of Ibo Landing and the ritual of Beg Pardon, are instances of oral memory that are shared and transmitted between peers and to future generations through story telling and performance. Among other purposes, the oral traditions in Praisesong for the Widow give Avey a sense of belonging to the African diasporic and African American community, help her recreate and reclaim her cultural heritage, and finally, preserve the experiences of the enslaved Africans and their descendants in North America. In the novel, Marshall also sounds a warning to her readers about the need for vigilance in protecting oral traditions in the face of materialism.
{"title":"Oral Traditions: An Analysis of Story Telling and Performance in Paule Marshall’s Praisesong for the Widow","authors":"Dhanashree Thorat","doi":"10.32727/25.2019.2","DOIUrl":"https://doi.org/10.32727/25.2019.2","url":null,"abstract":"Dorothy Noyes, in her essay \"Tradition: Three Traditions,\" notes that the word \"tradition\" implies \"handing over\" or \"delivery\" (Noyes 233). Furthermore, tradition is identified as a communal belonging that involves \"the transfer of responsibility for a valued practice or performance\" from one generation to the next (233). This essay will apply the characteristics and role of \"tradition,\" outlined by Noyes and others, to develop a critical understanding of two acts of oral tradition pivotal to the spiritual transformation of Avey Johnson, the protagonist of Paule Marshall's Praisesong for the Widow. These two interconnected acts, the story of Ibo Landing and the ritual of Beg Pardon, are instances of oral memory that are shared and transmitted between peers and to future generations through story telling and performance. Among other purposes, the oral traditions in Praisesong for the Widow give Avey a sense of belonging to the African diasporic and African American community, help her recreate and reclaim her cultural heritage, and finally, preserve the experiences of the enslaved Africans and their descendants in North America. In the novel, Marshall also sounds a warning to her readers about the need for vigilance in protecting oral traditions in the face of materialism.","PeriodicalId":166107,"journal":{"name":"Kennesaw Journal of Undergraduate Research","volume":"95 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128401998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This research paper analyzes Mark Twain's use of racist speech and racial stereotypes in his novel Pudd'nhead Wilson. Twain has often been criticized for his seemingly inflammatory language. However, a close reading of the text, supplemented by research in several anthologies of critical essays, reveals that Twain was actually interested in social justice. This is evident in his portrayal of Roxana as a sympathetic character who is victimized by white racist society in Dawson's Landing, Mississippi during the time of slavery. In the final analysis, Twain's writing was a product of the time period during which he wrote. This knowledge helps students understand the reasons behind Twain's word choices, characterization, and portrayal of race.
{"title":"Exploring Prejudice, Miscegenation, and Slavery's Consequences in Mark Twain's Pudd'nhead Wilson","authors":"S. Watson","doi":"10.32727/25.2019.3","DOIUrl":"https://doi.org/10.32727/25.2019.3","url":null,"abstract":"This research paper analyzes Mark Twain's use of racist speech and racial stereotypes in his novel Pudd'nhead Wilson. Twain has often been criticized for his seemingly inflammatory language. However, a close reading of the text, supplemented by research in several anthologies of critical essays, reveals that Twain was actually interested in social justice. This is evident in his portrayal of Roxana as a sympathetic character who is victimized by white racist society in Dawson's Landing, Mississippi during the time of slavery. In the final analysis, Twain's writing was a product of the time period during which he wrote. This knowledge helps students understand the reasons behind Twain's word choices, characterization, and portrayal of race.","PeriodicalId":166107,"journal":{"name":"Kennesaw Journal of Undergraduate Research","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125479546","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Recent mandates created by the federal government have placed a large emphasis on standardized testing in elementary schools. Educators now face the challenge of how to best prepare their students for these tests. In this qualitative case study research project, I collected data from four third grade teachers to determine how recent governmental laws impact their teaching styles; in this article I tell the story of two of those teachers. Interviews and classroom observations were conducted in a medium-sized, public elementary school outside a large metropolitan city in the Southeast. Preferred and perceived teaching styles as reported by the teachers during interviews were compared with their actual teaching styles as evidenced during observations. Results suggest that government mandates are affecting teaching styles directly and indirectly. It appears that government mandates have had a negative impact on teachers, their preferred styles of teaching, what curricula are emphasized, and how the curricula are taught.
{"title":"Teaching to the Test: How Federal Mandates Affect Elementary Educators’ Teaching Styles","authors":"Vande Corput, R. Ashley","doi":"10.32727/25.2019.6","DOIUrl":"https://doi.org/10.32727/25.2019.6","url":null,"abstract":"Recent mandates created by the federal government have placed a large emphasis on standardized testing in elementary schools. Educators now face the challenge of how to best prepare their students for these tests. In this qualitative case study research project, I collected data from four third grade teachers to determine how recent governmental laws impact their teaching styles; in this article I tell the story of two of those teachers. Interviews and classroom observations were conducted in a medium-sized, public elementary school outside a large metropolitan city in the Southeast. Preferred and perceived teaching styles as reported by the teachers during interviews were compared with their actual teaching styles as evidenced during observations. Results suggest that government mandates are affecting teaching styles directly and indirectly. It appears that government mandates have had a negative impact on teachers, their preferred styles of teaching, what curricula are emphasized, and how the curricula are taught.","PeriodicalId":166107,"journal":{"name":"Kennesaw Journal of Undergraduate Research","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115558930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The political community's research comes across as inconclusive in regard to the relationship between liberty and terrorism, given the differing opinions on what defines 'liberty' and 'terrorism.' Having stated that, this research tries to the idea of religious liberty in regards to overall terrorism. Most research up to 2016 has been done on terrorist data after 2001 until 2010 (in some cases 2012.) This research expands to the year 2014 to analyze the connection between religious oppression by country governments and their effect on the number of terror attacks in each country in the span of one year. My research does not support my hypothesis that there is a relationship between these two variables, however, other religious factors included as controls showed a surprising positive correlation with the number of terror attacks in 2014.
{"title":"Does Oppressed Religious Liberty Cause an Uprising in Terror Attacks?","authors":"Ansley Miller","doi":"10.32727/25.2019.13","DOIUrl":"https://doi.org/10.32727/25.2019.13","url":null,"abstract":"The political community's research comes across as inconclusive in regard to the relationship between liberty and terrorism, given the differing opinions on what defines 'liberty' and 'terrorism.' Having stated that, this research tries to the idea of religious liberty in regards to overall terrorism. Most research up to 2016 has been done on terrorist data after 2001 until 2010 (in some cases 2012.) This research expands to the year 2014 to analyze the connection between religious oppression by country governments and their effect on the number of terror attacks in each country in the span of one year. My research does not support my hypothesis that there is a relationship between these two variables, however, other religious factors included as controls showed a surprising positive correlation with the number of terror attacks in 2014.","PeriodicalId":166107,"journal":{"name":"Kennesaw Journal of Undergraduate Research","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132916201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The focus of my research centers on the contemporary work of Georgia-based artist, Kara Elizabeth Walker. In conducting extensive research on the life of the artist as well as three select artworks which recall the antebellum slave era within the south, I argue the explicit presence of the power of the enslaved prepubescent girl and young woman. The three select works that I intend to analyze are Burn, a cut-paper silhouette on canvas created in 1998, The Invisible Beauty, a mixed media piece made in 2001, and Cut, a paper cut-out silhouette made in 1998. In a time where one’s power and freedom were both stripped away upon entering the prison-like confines of a plantation home, the life of a slave (a female slave in this case) was committed to grueling housework, the rearing of her slave master’s children in the place of her own, sexual exploitation and merciless beatings, humiliation, submission to her white counterparts, and in many cases, the occasion of rape. Walker’s intense, overtly erotic and disturbing life-size (and larger than life size) interpretations of the Antebellum south force a stirred emotion within her viewers, so as to implicate them upon viewing. Utilizing methodologies such as formal analysis, feminist deconstruction, semiotic analysis, and psychoanalytic theory, I will prove that Walker’s work is not only a provocative rendition of the horrors of the slave era, but also a way to deconstruct the notion of the female slave as a powerless individual and counter that thought process with a more powerful, authoritative, aggressive, and sexually autonomous image of a female slave, as well as the authority reflected in herself as a contemporary African American artist. *As a disclaimer and out of personal respect to my readers, I caution that there are phrases in my article that may be considered offensive, given their racial nature. The artist has used these terms as a way to describe the figures in her works of art. While they may be offensive, I feel they are necessary to bolster my arguments of racial stereotypes of enslaved females, which over time have been socially constructed and historically situated.
{"title":"Silhouettes of a Silent Female’s Authority: A Psychoanalytic and Feminist Perspective on the Art of Kara Walker","authors":"Angeliza Peres","doi":"10.32727/25.2019.11","DOIUrl":"https://doi.org/10.32727/25.2019.11","url":null,"abstract":"The focus of my research centers on the contemporary work of Georgia-based artist, Kara Elizabeth Walker. In conducting extensive research on the life of the artist as well as three select artworks which recall the antebellum slave era within the south, I argue the explicit presence of the power of the enslaved prepubescent girl and young woman. The three select works that I intend to analyze are Burn, a cut-paper silhouette on canvas created in 1998, The Invisible Beauty, a mixed media piece made in 2001, and Cut, a paper cut-out silhouette made in 1998. In a time where one’s power and freedom were both stripped away upon entering the prison-like confines of a plantation home, the life of a slave (a female slave in this case) was committed to grueling housework, the rearing of her slave master’s children in the place of her own, sexual exploitation and merciless beatings, humiliation, submission to her white counterparts, and in many cases, the occasion of rape. Walker’s intense, overtly erotic and disturbing life-size (and larger than life size) interpretations of the Antebellum south force a stirred emotion within her viewers, so as to implicate them upon viewing. Utilizing methodologies such as formal analysis, feminist deconstruction, semiotic analysis, and psychoanalytic theory, I will prove that Walker’s work is not only a provocative rendition of the horrors of the slave era, but also a way to deconstruct the notion of the female slave as a powerless individual and counter that thought process with a more powerful, authoritative, aggressive, and sexually autonomous image of a female slave, as well as the authority reflected in herself as a contemporary African American artist. *As a disclaimer and out of personal respect to my readers, I caution that there are phrases in my article that may be considered offensive, given their racial nature. The artist has used these terms as a way to describe the figures in her works of art. While they may be offensive, I feel they are necessary to bolster my arguments of racial stereotypes of enslaved females, which over time have been socially constructed and historically situated.","PeriodicalId":166107,"journal":{"name":"Kennesaw Journal of Undergraduate Research","volume":"147 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113988622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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