Pub Date : 2019-08-15DOI: 10.5622/ILLINOIS/9780252042645.003.0002
Adrienne D. Davis
The organizing essay of the collection presents the important concept of sexual economy of slavery. It examines the ways that slavery's sexual and racial subordination converged around the bodies of enslaved black women. It documents slavery as a "sexual political economy" to make explicit the connections between its markets, labor structure, and sexual exploitation. It designates slavery a sexual economy to foreground slavery's gender hierarchies and mechanisms of subordination as well as to show how slavery offered early illustrations of the social construction and fluidity of gender and the false dichotomy between public and private relations. In sum, the chapter demonstrates that race, sex, and slavery combined to produce an entirely different notion of intimacy and sexual anxieties and how those were managed and reproduced.
{"title":"“Don‘t Let Nobody Bother Yo’ Principle”","authors":"Adrienne D. Davis","doi":"10.5622/ILLINOIS/9780252042645.003.0002","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252042645.003.0002","url":null,"abstract":"The organizing essay of the collection presents the important concept of sexual economy of slavery. It examines the ways that slavery's sexual and racial subordination converged around the bodies of enslaved black women. It documents slavery as a \"sexual political economy\" to make explicit the connections between its markets, labor structure, and sexual exploitation. It designates slavery a sexual economy to foreground slavery's gender hierarchies and mechanisms of subordination as well as to show how slavery offered early illustrations of the social construction and fluidity of gender and the false dichotomy between public and private relations. In sum, the chapter demonstrates that race, sex, and slavery combined to produce an entirely different notion of intimacy and sexual anxieties and how those were managed and reproduced.","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122346627","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 book is a compilation of contemporary and previously unpublished scholarship on Black sexualities. The sixteen essays work to untangle the complex mechanisms of dominance and subordination as they are attached to political and socioeconomic forces, cultural productions, and academic lenses that assess sexuality as it intersects with race. Some of the essays trace the historical and contemporary markets for sexual labor and systems of erotic capital. Other essays illuminate how forces of commodification, exploitation, and appropriation, which render black sexualities both desirable and deviant, also provide the spaces, networks, and relationships that have allowed black people to revise, recuperate, and re-articulate their sexual identities, erotic capital, and gender and sexual expressions and relations. The collection focuses on three themes linked by the major theory of black sexual economy: sex labor and race play; drag and hypersexual performance; and the erotics of life and death.
{"title":"Black Sexual Economies","authors":"The BSE Collective","doi":"10.5406/j.ctvmx3hw6","DOIUrl":"https://doi.org/10.5406/j.ctvmx3hw6","url":null,"abstract":"This book is a compilation of contemporary and previously unpublished scholarship on Black sexualities. The sixteen essays work to untangle the complex mechanisms of dominance and subordination as they are attached to political and socioeconomic forces, cultural productions, and academic lenses that assess sexuality as it intersects with race. Some of the essays trace the historical and contemporary markets for sexual labor and systems of erotic capital. Other essays illuminate how forces of commodification, exploitation, and appropriation, which render black sexualities both desirable and deviant, also provide the spaces, networks, and relationships that have allowed black people to revise, recuperate, and re-articulate their sexual identities, erotic capital, and gender and sexual expressions and relations. The collection focuses on three themes linked by the major theory of black sexual economy: sex labor and race play; drag and hypersexual performance; and the erotics of life and death.","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121195591","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 chapter focuses on Noah’s Arc (Logo, 2005-2006) a television show featuring four gay men of color that aired for two seasons on the gay lifestyle-oriented cable channel Logo. It argues that Noah's Arc works within the popular cultural genre of the dramedy to engage with—while also contradicting and disrupting—new normativities of race, sexuality and its intersections. First it contextualizes the anxieties around black middle class heteronormativity and outlines some of the ways in which these anxieties have been negotiated through black televisuality. Then it provides an interpretation of Noah’s Arc from a queer of color perspective to understand its problematic framing of race, sexuality and its intersections as mostly an intra-racial problem of gay black masculinities and femininities. Given that the program has been criticized for foregrounding its characters’ negotiation of gender and sexuality at the expense of their race, it theorizes the program’s use of media self-reflexivity—in other words, its own representations of the television and film industry—to complicate its message about the roles of race and sexuality in the culture industry. Finally, it examines digital reception of the program to understand the way differently positioned audiences—primarily queer men of color—derived pleasure from the program’s campy aesthetics and melodramatic excess.
{"title":"Cheryl Clarke’s Clit Agency","authors":"David B. Green","doi":"10.5406/j.ctvmx3hw6.17","DOIUrl":"https://doi.org/10.5406/j.ctvmx3hw6.17","url":null,"abstract":"This chapter focuses on Noah’s Arc (Logo, 2005-2006) a television show featuring four gay men of color that aired for two seasons on the gay lifestyle-oriented cable channel Logo. It argues that Noah's Arc works within the popular cultural genre of the dramedy to engage with—while also contradicting and disrupting—new normativities of race, sexuality and its intersections. First it contextualizes the anxieties around black middle class heteronormativity and outlines some of the ways in which these anxieties have been negotiated through black televisuality. Then it provides an interpretation of Noah’s Arc from a queer of color perspective to understand its problematic framing of race, sexuality and its intersections as mostly an intra-racial problem of gay black masculinities and femininities. Given that the program has been criticized for foregrounding its characters’ negotiation of gender and sexuality at the expense of their race, it theorizes the program’s use of media self-reflexivity—in other words, its own representations of the television and film industry—to complicate its message about the roles of race and sexuality in the culture industry. Finally, it examines digital reception of the program to understand the way differently positioned audiences—primarily queer men of color—derived pleasure from the program’s campy aesthetics and melodramatic excess.","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116793992","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}
Pub Date : 2019-08-15DOI: 10.5622/ILLINOIS/9780252042645.003.0004
Cheryl D. Hicks
The image of the buck or Mandingo, which has historically found expression in advertising, popular culture, science, news, law, and policy, effects a powerful purchase on our national psyche. The Mandingo’s figurative though sustained life illuminates the ways in which myths about black men’s bodies incite particular kinds of fantasies and instantiate specific relationships of power. Perhaps the most insistent archetype of black masculinity, the Mandingo has been mobilized by a number of actors, including black men who have sought to defy, appropriate, or reinvent the image. Framing black men as possessing a primitive, unquenchable, and even dangerous sexuality –a sexuality that thwarts prohibitions and demands containment– the Mandingo is an ideological construction invented by white heteropatriarchy to effectively police the racial-sexual border. Embedded in the Mandingo construct are potent opposing energies: racial hatred and racialized desire. How then does the mobilization of the Mandingo in contemporary cuckold pornography speak to the desire for and fear of black men as objects for pornographic consumption by white men and women? This chapter investigates the sexual economy of sub-cultural, amateur pornography in which black men are figured as BBC (big black cock) studs central to the fetishistic fantasies of white couples. Highlighting the multiple and mobile desires, relations, and labors evident in “cuckolding socialities”, this chapter looks at pornography as a market for black men’s sex work, and as a space of discipline and containment as well as of queer possibility.
{"title":"“Hannah Elias Talks Freely”","authors":"Cheryl D. Hicks","doi":"10.5622/ILLINOIS/9780252042645.003.0004","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252042645.003.0004","url":null,"abstract":"The image of the buck or Mandingo, which has historically found expression in advertising, popular culture, science, news, law, and policy, effects a powerful purchase on our national psyche. The Mandingo’s figurative though sustained life illuminates the ways in which myths about black men’s bodies incite particular kinds of fantasies and instantiate specific relationships of power. Perhaps the most insistent archetype of black masculinity, the Mandingo has been mobilized by a number of actors, including black men who have sought to defy, appropriate, or reinvent the image. Framing black men as possessing a primitive, unquenchable, and even dangerous sexuality –a sexuality that thwarts prohibitions and demands containment– the Mandingo is an ideological construction invented by white heteropatriarchy to effectively police the racial-sexual border. Embedded in the Mandingo construct are potent opposing energies: racial hatred and racialized desire. How then does the mobilization of the Mandingo in contemporary cuckold pornography speak to the desire for and fear of black men as objects for pornographic consumption by white men and women? This chapter investigates the sexual economy of sub-cultural, amateur pornography in which black men are figured as BBC (big black cock) studs central to the fetishistic fantasies of white couples. Highlighting the multiple and mobile desires, relations, and labors evident in “cuckolding socialities”, this chapter looks at pornography as a market for black men’s sex work, and as a space of discipline and containment as well as of queer possibility.","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129986624","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}
Pub Date : 2019-08-15DOI: 10.5622/ILLINOIS/9780252042645.003.0011
Felice D. Blake
This chapter explores the transnational circulation of notions of black hypersexuality in Brazil and beyond. It focuses on three sites of analysis that explore how cross-cultural perceptions of sexual difference are produced and perpetuated in the tourism industry. First, it examines Oswaldo Sargentelli’s Oba-Oba mulata shows, which situated the mulata on stage as an eroticized spectacle for the consumption of white male foreigners. Second, it analyzes a YouTube video that depicts a young Arnold Schwarzenegger on stage dancing with a woman of African descent who is dancing samba. Seeing her scantily clad, he takes the opportunity to grab her behind. Finally, the presentation reflects on the Marcha das Vadias (Slut Walk) that occurred in Salvador for the three years (2011-2013). In these three sites of analysis, women of African descent, like “sluts” and sex workers, are seen as having no bodily rights worth protecting. This presentation draws upon often overlooked scholarship on black Brazilian feminisms to address how black Brazilian women “recuperate and re-imagine their own sexualities” within a transnational tourism industry that depends upon their bodies and their emotional and sexual labor.
本章探讨了巴西及其他地区黑人性欲亢进概念的跨国流通。它集中在三个分析地点，探讨如何跨文化感知的性别差异是产生和延续在旅游业。首先，它考察了奥斯瓦尔多·萨尔根泰利(Oswaldo Sargentelli)的“奥巴马-奥巴马”(obama - oba) mulata展览，这些展览将mulata放在舞台上，作为一种色情奇观，供白人男性外国人消费。其次，它分析了一段YouTube视频，视频中年轻的阿诺德·施瓦辛格在舞台上与一名跳桑巴舞的非洲裔女性跳舞。看到她穿着暴露，他抓住机会抓住她的背后。最后，该展示反映了三年(2011-2013)在萨尔瓦多发生的Marcha das Vadias(荡妇行走)。在这三个网站的分析中，非洲裔女性，就像“荡妇”和性工作者一样，被视为没有值得保护的身体权利。这次演讲借鉴了经常被忽视的关于巴西黑人女权主义的学术研究，探讨了巴西黑人女性如何在一个依赖于她们的身体、情感和性劳动的跨国旅游业中“恢复和重新想象她们自己的性行为”。
{"title":"Framing the Video Vixen","authors":"Felice D. Blake","doi":"10.5622/ILLINOIS/9780252042645.003.0011","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252042645.003.0011","url":null,"abstract":"This chapter explores the transnational circulation of notions of black hypersexuality in Brazil and beyond. It focuses on three sites of analysis that explore how cross-cultural perceptions of sexual difference are produced and perpetuated in the tourism industry. First, it examines Oswaldo Sargentelli’s Oba-Oba mulata shows, which situated the mulata on stage as an eroticized spectacle for the consumption of white male foreigners. Second, it analyzes a YouTube video that depicts a young Arnold Schwarzenegger on stage dancing with a woman of African descent who is dancing samba. Seeing her scantily clad, he takes the opportunity to grab her behind. Finally, the presentation reflects on the Marcha das Vadias (Slut Walk) that occurred in Salvador for the three years (2011-2013). In these three sites of analysis, women of African descent, like “sluts” and sex workers, are seen as having no bodily rights worth protecting. This presentation draws upon often overlooked scholarship on black Brazilian feminisms to address how black Brazilian women “recuperate and re-imagine their own sexualities” within a transnational tourism industry that depends upon their bodies and their emotional and sexual labor.","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131457818","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 Book of Joy is an exhibition for which we have compiled an eclectic collection of images, poems, and interview transcripts culled from our research on queer young black women’s sexualities and arts-based community work. Taking our cue from the practice and passion of Zanele Muholi, a black queer South African artist and activist based in Johannesburg who generates portraits of queer communities, we purposefully stray from our scholarly essay writing practice here in order to situate an evocative and more direct accounting of black queer young women’s erotics within the larger framework of this anthology. Although the work of our participants is nevertheless mediated through our process of collection, selection, framing, and ordering, we, like Zanele, believe that the creative expression and documentation of queer black lives is a significant politic. This project stems from the desire to witness and consume representations of Black female sexuality that are diverse, full, and comprehensive. In curating this exhibition, we draw on our action research designed to facilitate collective learning experiences with young Black women and girls in regards to visual culture, sex, sexuality, and pleasure. When the discussion of black queer young women’s lives is either non-existent or saturated by the overwhelming realities of harassment, trauma, depression, and violence that can also mark them, a focus on pleasure becomes an urgent project.
{"title":"The Book of Joy:","authors":"A. M. Wallace, J. Hernandez","doi":"10.5406/j.ctvmx3hw6.19","DOIUrl":"https://doi.org/10.5406/j.ctvmx3hw6.19","url":null,"abstract":"The Book of Joy is an exhibition for which we have compiled an eclectic collection of images, poems, and interview transcripts culled from our research on queer young black women’s sexualities and arts-based community work. Taking our cue from the practice and passion of Zanele Muholi, a black queer South African artist and activist based in Johannesburg who generates portraits of queer communities, we purposefully stray from our scholarly essay writing practice here in order to situate an evocative and more direct accounting of black queer young women’s erotics within the larger framework of this anthology. Although the work of our participants is nevertheless mediated through our process of collection, selection, framing, and ordering, we, like Zanele, believe that the creative expression and documentation of queer black lives is a significant politic. This project stems from the desire to witness and consume representations of Black female sexuality that are diverse, full, and comprehensive. In curating this exhibition, we draw on our action research designed to facilitate collective learning experiences with young Black women and girls in regards to visual culture, sex, sexuality, and pleasure. When the discussion of black queer young women’s lives is either non-existent or saturated by the overwhelming realities of harassment, trauma, depression, and violence that can also mark them, a focus on pleasure becomes an urgent project.","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128528283","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}
Pub Date : 2019-08-15DOI: 10.5622/ILLINOIS/9780252042645.003.0008
Jeffrey Q. McCune
“Branded Beautiful” examines the relationship between individual pop celebrity, the promotion of a national identity, and the use of sexuality while branding each. Barbados promotes itself as a site of controlled abandon straddling performances of modernity while cashing in on imaginaries of “primitive” exoticism. Robyn “Rihanna” Fenty’s pop stardom is built on an ever-changing boldness that often includes in your face sexuality. The relationship between Rihanna and representations of Barbados is fraught with ambiguity. Using Rihanna’s August 2011 LOUD tour concert in Barbados, “Branded Beautiful” argues that the events surrounding the show shed light on the differing sexual economies of pop stardom and national tourism; that such divergences highlight the insecurities of nation-states seeking to make a name for themselves within a global market; and that despite the distinctions it is quite hard for a nation-state to divorce celebrity focused attention from an ideal national image.
{"title":"“Happy at Last”","authors":"Jeffrey Q. McCune","doi":"10.5622/ILLINOIS/9780252042645.003.0008","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252042645.003.0008","url":null,"abstract":"“Branded Beautiful” examines the relationship between individual pop celebrity, the promotion of a national identity, and the use of sexuality while branding each. Barbados promotes itself as a site of controlled abandon straddling performances of modernity while cashing in on imaginaries of “primitive” exoticism. Robyn “Rihanna” Fenty’s pop stardom is built on an ever-changing boldness that often includes in your face sexuality. The relationship between Rihanna and representations of Barbados is fraught with ambiguity. Using Rihanna’s August 2011 LOUD tour concert in Barbados, “Branded Beautiful” argues that the events surrounding the show shed light on the differing sexual economies of pop stardom and national tourism; that such divergences highlight the insecurities of nation-states seeking to make a name for themselves within a global market; and that despite the distinctions it is quite hard for a nation-state to divorce celebrity focused attention from an ideal national image.","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129116406","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}
Pub Date : 2019-08-15DOI: 10.5622/ILLINOIS/9780252042645.003.0007
M. Bailey, Matt Richardson
Given the ways that the exercise of racism and the ideology of black inferiority have depended upon entrenched images of black hypersexuality, it may be unsurprising that representations of intracommunal sexual fetishization and performance obscure the presence of racism. Nonetheless, such representations can also lead us to misinterpret how racial subordination is inculcated, negotiated, and challenged within the black community. The many responses to Karrine Steffans, her book Confessions of a Video Vixen, and the new cultural figure she represents (the video vixen, model, ‘jump off’, ‘groupie’, or ‘ho’) reveal the multiple investments in the representation of black women, and by extension, black men and their sexualities. Blake argues that although dominant discourses would lay blame for the circulation of misogynist images at the doorstep of the black community, understanding the formation of such a figure requires a far more complex reading. In addition to addressing the contemporary exercise of gendered racism, intracommunal discussions and debates about black sexuality (inspired by the video vixen) show that black popular culture can create new discursive spaces. Sometimes it also exposes intracommunal negotiations over the effects of racial subordination, the contemporary meanings of racial community, and the politics of black hypersexuality.
{"title":"“Will the Real Men Stand Up?”","authors":"M. Bailey, Matt Richardson","doi":"10.5622/ILLINOIS/9780252042645.003.0007","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252042645.003.0007","url":null,"abstract":"Given the ways that the exercise of racism and the ideology of black inferiority have depended upon entrenched images of black hypersexuality, it may be unsurprising that representations of intracommunal sexual fetishization and performance obscure the presence of racism. Nonetheless, such representations can also lead us to misinterpret how racial subordination is inculcated, negotiated, and challenged within the black community. The many responses to Karrine Steffans, her book Confessions of a Video Vixen, and the new cultural figure she represents (the video vixen, model, ‘jump off’, ‘groupie’, or ‘ho’) reveal the multiple investments in the representation of black women, and by extension, black men and their sexualities. Blake argues that although dominant discourses would lay blame for the circulation of misogynist images at the doorstep of the black community, understanding the formation of such a figure requires a far more complex reading. In addition to addressing the contemporary exercise of gendered racism, intracommunal discussions and debates about black sexuality (inspired by the video vixen) show that black popular culture can create new discursive spaces. Sometimes it also exposes intracommunal negotiations over the effects of racial subordination, the contemporary meanings of racial community, and the politics of black hypersexuality.","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130911847","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 essay provides a moment for readers to rethink the scholarly or disciplinary methodologies, as well as national ideologies, that shape black sexuality studies and examinations of sexual economies. As communities throughout the African Diaspora continue to work toward sexual decolonization, they do so in ways that highlight the tensions and conflicts of a public/private binary embedded in sexual economies. This essay compels readers to see what is at stake for persons of color in the Caribbean researching what has been articulated as a private concern “sexuality.” In theorizing intellectual labor on sexuality, the author prioritizes the local, the political, and the socio-cultural landscape so as to demand an ethical relationship between scholars and their subjects. In sum, the essay explores how black sexual intellectuals can blur the boundaries between public and private binaries. In articulating the conflicts between making sex public, and thus research on sexuality accessible, the author reminds readers of the importance of embodiment and activism for African Diasporic communities where the end goal is sexual decolonization.
{"title":"In the Life:","authors":"Darius Bost","doi":"10.5406/j.ctvmx3hw6.15","DOIUrl":"https://doi.org/10.5406/j.ctvmx3hw6.15","url":null,"abstract":"This essay provides a moment for readers to rethink the scholarly or disciplinary methodologies, as well as national ideologies, that shape black sexuality studies and examinations of sexual economies. As communities throughout the African Diaspora continue to work toward sexual decolonization, they do so in ways that highlight the tensions and conflicts of a public/private binary embedded in sexual economies. This essay compels readers to see what is at stake for persons of color in the Caribbean researching what has been articulated as a private concern “sexuality.” In theorizing intellectual labor on sexuality, the author prioritizes the local, the political, and the socio-cultural landscape so as to demand an ethical relationship between scholars and their subjects. In sum, the essay explores how black sexual intellectuals can blur the boundaries between public and private binaries. In articulating the conflicts between making sex public, and thus research on sexuality accessible, the author reminds readers of the importance of embodiment and activism for African Diasporic communities where the end goal is sexual decolonization.","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131723159","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}
Pub Date : 2019-08-15DOI: 10.5622/ILLINOIS/9780252042645.003.0017
L. Stallings
A contemporary folk tale centered on auto-eroticism and spirituality
这是一个当代民间故事，以自我情欲和灵性为中心
{"title":"The Mist and the Rain","authors":"L. Stallings","doi":"10.5622/ILLINOIS/9780252042645.003.0017","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252042645.003.0017","url":null,"abstract":"A contemporary folk tale centered on auto-eroticism and spirituality","PeriodicalId":309440,"journal":{"name":"Black Sexual Economies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115682198","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：