Rethinking Motherhood in the 21st Century: New Feminist Approaches. Introduction
重新思考21世纪的母性:新的女性主义方法。介绍
{"title":"Rethinking Motherhood in the 21st Century: New Feminist Approaches. Introduction","authors":"Inmaculada Blasco Herranz, Dolores Serrano-Niza","doi":"10.14198/fem.2023.41.01","DOIUrl":"https://doi.org/10.14198/fem.2023.41.01","url":null,"abstract":"Rethinking Motherhood in the 21st Century: New Feminist Approaches. Introduction","PeriodicalId":32557,"journal":{"name":"Feminismos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43993540","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}
Admired throughout the world, Toni Morrison’s powerful voice resounds in special ways in Brazil, where she conducted part of her research for Beloved –a novel she considered an interrogation about the legacy of slavery in countries like Brazil and the USA. Initially labeled «politically correct» by Brazilian media, her works have finally achieved great visibility in the twenty-first century thanks to translations, a wide readership and increasing academic attention. In fact, Afro-Brazilian women writers, literary critics, historians, and cultural workers have reached unprecedented recognition in recent decades, along with a belated embrace of Morrison and other Black authors. This essay relies on Black feminist, diasporic and decolonial thinking to investigate how Morrison’s writing connects with the ongoing process of racial awareness and empowerment in Brazil, as well as with the writer Conceição Evaristo.
{"title":"African Diasporic Connections in the Americas: Toni Morrison in Brazil","authors":"Stelamaris Coser","doi":"10.14198/fem.2022.40.03","DOIUrl":"https://doi.org/10.14198/fem.2022.40.03","url":null,"abstract":"Admired throughout the world, Toni Morrison’s powerful voice resounds in special ways in Brazil, where she conducted part of her research for Beloved –a novel she considered an interrogation about the legacy of slavery in countries like Brazil and the USA. Initially labeled «politically correct» by Brazilian media, her works have finally achieved great visibility in the twenty-first century thanks to translations, a wide readership and increasing academic attention. In fact, Afro-Brazilian women writers, literary critics, historians, and cultural workers have reached unprecedented recognition in recent decades, along with a belated embrace of Morrison and other Black authors. This essay relies on Black feminist, diasporic and decolonial thinking to investigate how Morrison’s writing connects with the ongoing process of racial awareness and empowerment in Brazil, as well as with the writer Conceição Evaristo.","PeriodicalId":32557,"journal":{"name":"Feminismos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43927926","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}
Drawing on Harold Bloom’s concept of factility or the unavoidable influence of texts that run through the cultural legacy of the African diaspora, this article examines the intertextual relationship between Morrison’s Beloved and Ward’s Salvage the Bones and Sing, Unburied, Sing. In Salvage the Bones, Ward engages with Beloved to retell the myth of Medea and to rethink black motherhood to keep on interrogating questions of self-definition and the sense of community aiming to offer a more nuanced understanding of black women’s reality under sundry layers of oppression. In Sing, Unburied, Sing Ward rereads Beloved to plunge into the importance of diasporic memory and its role in fostering familial bonds and healing. This is done by using the Morrisonian trope of the familial ghost(s) with the resulting traumatic wounds to exemplify the manifold ways in which collective memory has historically kept communities of African Americans together. This intertextual exercise exposes the way in which Ward’s novels continue to examine Morrison’s account of the violent legacy of slavery and its new practices on African American families and communities from past to present.
{"title":"Leyendo Beloved de Toni Morrison en Salvage the Bones y Sing, Unburied, Sing de Jesmyn Ward","authors":"Vicent Cucarella-ramon","doi":"10.14198/fem.2022.40.04","DOIUrl":"https://doi.org/10.14198/fem.2022.40.04","url":null,"abstract":"Drawing on Harold Bloom’s concept of factility or the unavoidable influence of texts that run through the cultural legacy of the African diaspora, this article examines the intertextual relationship between Morrison’s Beloved and Ward’s Salvage the Bones and Sing, Unburied, Sing. In Salvage the Bones, Ward engages with Beloved to retell the myth of Medea and to rethink black motherhood to keep on interrogating questions of self-definition and the sense of community aiming to offer a more nuanced understanding of black women’s reality under sundry layers of oppression. In Sing, Unburied, Sing Ward rereads Beloved to plunge into the importance of diasporic memory and its role in fostering familial bonds and healing. This is done by using the Morrisonian trope of the familial ghost(s) with the resulting traumatic wounds to exemplify the manifold ways in which collective memory has historically kept communities of African Americans together. This intertextual exercise exposes the way in which Ward’s novels continue to examine Morrison’s account of the violent legacy of slavery and its new practices on African American families and communities from past to present.","PeriodicalId":32557,"journal":{"name":"Feminismos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44359954","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}
Morrison’s portrayals of the elderly woman resonate with images of the wise mythical Crone, a universal image embedded in our consciousness. In pre-patriarchal societies, elder women, Crones, were associated with both life and death. The advent of patriarchy changed how aging females were perceived and their societal roles. They were diabolized, disempowered, and regarded as useless and invisible. However, Morrison’s Crones are strong life forces, and an active valuable part of their communities. Morrison revalues their traditional maternal domestic roles, and motherhood and household become, respectively, a transgressive act and a site of resistance and power. With their ancestral spiritual/supernatural/healing properties, her Crones are ancestor figures and moral beacons for their communities. In her oeuvre, Morrison reassesses and reclaims the primordial pre-patriarchal crone archetype to empower and honor old black women and their contributions to the black community.
{"title":"The Primal Archetypal and Mythical Crone in Toni Morrison’s Portrayals of the Elder Woman","authors":"Manuela López-Ramírez","doi":"10.14198/fem.2022.40.05","DOIUrl":"https://doi.org/10.14198/fem.2022.40.05","url":null,"abstract":"Morrison’s portrayals of the elderly woman resonate with images of the wise mythical Crone, a universal image embedded in our consciousness. In pre-patriarchal societies, elder women, Crones, were associated with both life and death. The advent of patriarchy changed how aging females were perceived and their societal roles. They were diabolized, disempowered, and regarded as useless and invisible. However, Morrison’s Crones are strong life forces, and an active valuable part of their communities. Morrison revalues their traditional maternal domestic roles, and motherhood and household become, respectively, a transgressive act and a site of resistance and power. With their ancestral spiritual/supernatural/healing properties, her Crones are ancestor figures and moral beacons for their communities. In her oeuvre, Morrison reassesses and reclaims the primordial pre-patriarchal crone archetype to empower and honor old black women and their contributions to the black community.","PeriodicalId":32557,"journal":{"name":"Feminismos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49635692","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}
Mariona Penya i Guilarte, Laura Maranillo-Castillo
Las mujeres en situación de sinhogarismo son cada vez más, aunque sus situaciones están más invisibilizadas debido a que sobreviven más frecuentemente distintas formas ocultas de sinhogarismo. El objetivo de este estudio es complejizar los conocimientos sobre las estrategias de supervivencia que las mujeres usan para evitar una situación de calle a través de sus propias vivencias. Para este fin se utilizan las Producciones Narrativas, una metodología surgida de las epistemologías feministas y se parte de un marco teórico basado en la ética de los cuidados y la interseccionalidad. Se co-construyen seis Producciones Narrativas con cinco mujeres migrantes en situación de exclusión residencial en Barcelona. Estas nos muestran que, a través de habilidades relacionales tradicionalmente asociadas a una ética femenina, muchas mujeres consiguen evitar la situación de sin techo, «aguantando» muchas situaciones de violencia. Por otro lado, también usan estrategias relacionales basadas en el apoyo mutuo y la ética de los cuidados –que describen como fortalezas femeninas– para tejer redes de soporte y revertir las situaciones de exclusión. Finalmente, y a través de una mirada interseccional, también se evidencia cómo ser migrante condiciona estas vivencias y estrategias, e influye en su causa y también en su mantenimiento. Todos estos resultados tienen implicaciones que de tenerse en cuenta podrían mejorar las vidas de las mujeres que sobreviven estas situaciones, que pasan por tener en cuenta los distintos tipos de sinhogarismo así como las trayectorias diferenciales de las mujeres tanto en dispositivos de atención como en la prevención del sinhogarismo.
{"title":"Invisibles, vulnerables, pero resilientes: Mujeres migrantes en situación de sinhogarismo y estrategias de supervivencia femeninas","authors":"Mariona Penya i Guilarte, Laura Maranillo-Castillo","doi":"10.14198/fem.2022.40.13","DOIUrl":"https://doi.org/10.14198/fem.2022.40.13","url":null,"abstract":"Las mujeres en situación de sinhogarismo son cada vez más, aunque sus situaciones están más invisibilizadas debido a que sobreviven más frecuentemente distintas formas ocultas de sinhogarismo. El objetivo de este estudio es complejizar los conocimientos sobre las estrategias de supervivencia que las mujeres usan para evitar una situación de calle a través de sus propias vivencias. Para este fin se utilizan las Producciones Narrativas, una metodología surgida de las epistemologías feministas y se parte de un marco teórico basado en la ética de los cuidados y la interseccionalidad. Se co-construyen seis Producciones Narrativas con cinco mujeres migrantes en situación de exclusión residencial en Barcelona. Estas nos muestran que, a través de habilidades relacionales tradicionalmente asociadas a una ética femenina, muchas mujeres consiguen evitar la situación de sin techo, «aguantando» muchas situaciones de violencia. Por otro lado, también usan estrategias relacionales basadas en el apoyo mutuo y la ética de los cuidados –que describen como fortalezas femeninas– para tejer redes de soporte y revertir las situaciones de exclusión. Finalmente, y a través de una mirada interseccional, también se evidencia cómo ser migrante condiciona estas vivencias y estrategias, e influye en su causa y también en su mantenimiento. Todos estos resultados tienen implicaciones que de tenerse en cuenta podrían mejorar las vidas de las mujeres que sobreviven estas situaciones, que pasan por tener en cuenta los distintos tipos de sinhogarismo así como las trayectorias diferenciales de las mujeres tanto en dispositivos de atención como en la prevención del sinhogarismo. ","PeriodicalId":32557,"journal":{"name":"Feminismos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48231191","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}
Este artículo estudia el lirismo en las novelas de Belén Gopegui desde La escala de los mapas (1993) hasta Quédate este día y esta noche conmigo (2017) como el principal rasgo estilístico reconocido por la crítica. A pesar de la valoración positiva de su obra narrativa, faltan estudios académicos centrados en los aspectos formales de sus novelas. En el presente estudio, parto de las definiciones propuestas desde la Teoría de los géneros para establecer las estrategias narrativas que fomentan la subjetividad y la intensidad propias de la enunciación lírica. La subjetividad en las novelas se investiga a través de los géneros narrativos que exploran lo confidencial y lo íntimo, como la epístola y el diario, frecuentes en la narrativa de la autora. El estudio del ritmo se centra en los recursos retóricos basados en la repetición y la dimensión simbólica de la prosa se ocupa de las figuras literarias basadas en analogías. El estudio de las metáforas revela un uso particular de conceptos científicos que constituye un rasgo estilístico singular de la prosa de Gopegui. Por otra parte, el gusto por el aforismo evidencia el interés por lo didáctico y lo lírico. El registro de estos tres elementos básicos –géneros, figuras literarias y aforismos– se relaciona con temas recurrentes en su obra narrativa. Finalmente, se propone que el lirismo forma parte de la poética narrativa de la autora, ya que está al servicio de la intención didáctica y ética que distingue su obra y que suele identificarse con la novela social, ideológica o comprometida.
{"title":"El lirismo en la narrativa de Belén Gopegui","authors":"Mónica Lizarte Fernández","doi":"10.14198/fem.2022.40.12","DOIUrl":"https://doi.org/10.14198/fem.2022.40.12","url":null,"abstract":"Este artículo estudia el lirismo en las novelas de Belén Gopegui desde La escala de los mapas (1993) hasta Quédate este día y esta noche conmigo (2017) como el principal rasgo estilístico reconocido por la crítica. A pesar de la valoración positiva de su obra narrativa, faltan estudios académicos centrados en los aspectos formales de sus novelas. En el presente estudio, parto de las definiciones propuestas desde la Teoría de los géneros para establecer las estrategias narrativas que fomentan la subjetividad y la intensidad propias de la enunciación lírica. La subjetividad en las novelas se investiga a través de los géneros narrativos que exploran lo confidencial y lo íntimo, como la epístola y el diario, frecuentes en la narrativa de la autora. El estudio del ritmo se centra en los recursos retóricos basados en la repetición y la dimensión simbólica de la prosa se ocupa de las figuras literarias basadas en analogías. El estudio de las metáforas revela un uso particular de conceptos científicos que constituye un rasgo estilístico singular de la prosa de Gopegui. Por otra parte, el gusto por el aforismo evidencia el interés por lo didáctico y lo lírico. El registro de estos tres elementos básicos –géneros, figuras literarias y aforismos– se relaciona con temas recurrentes en su obra narrativa. Finalmente, se propone que el lirismo forma parte de la poética narrativa de la autora, ya que está al servicio de la intención didáctica y ética que distingue su obra y que suele identificarse con la novela social, ideológica o comprometida.","PeriodicalId":32557,"journal":{"name":"Feminismos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43218287","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}
Black Women’s Writing and Arts Today: A Tribute to Toni Morrison. Introduction
《今日黑人女性写作与艺术:向托妮·莫里森致敬》介绍
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Los desplazamientos forzados en Centroamérica, causados especialmente por la violencia que domina el territorio, responden a un movimiento migratorio en el cual las mujeres, por su condición de género, resultan más vulnerables. La violencia de género es una de las causas principales de migración y una constante que sufren las mujeres durante todo el trayecto. El arte constituye una herramienta de reflexión y visibilización de aspectos de la realidad próximos a las artistas. Por ello, analizar el proceso migratorio desde el ámbito artístico posibilita comprender el fenómeno estudiado desde otras perspectivas, aportando nuevos conocimientos. En este sentido, las obras de arte, cuyas narrativas presentan las múltiples experiencias del desplazamiento, generan diversas estéticas influenciadas por la confluencia de expresiones culturales que desarticulan las representaciones normativas, actuando sobre la percepción de quien observa. Partiendo de este contexto, el objetivo principal de esta investigación residió en analizar las prácticas de artistas centroamericanas cuyas narrativas se fundamentan en representar dicho fenómeno. Para tal fin, se empleó una metodología fundamentada en la crítica de arte feminista que pusiera en valor las experiencias de las mujeres, como sujetos creadores, quienes desde su propia mirada presentan narrativas y estrategias que renuevan conceptos estéticos hegemónicos. Asimismo, se emplearon métodos propios del ámbito del arte para analizar las producciones artísticas. Los principales resultados obtenidos posibilitan radiografiar cada periodo del proceso migratorio en el cual la categoría mujer es representada según parámetros propios de la cultura identitaria centroamericana, sin centrarse exclusivamente en la violencia que sufren las mujeres en los desplazamientos forzados.
{"title":"La dimensión de género en las poéticas visuales contemporáneas sobre los desplazamientos forzados: el caso de Centroamérica","authors":"Silvia Gas Barrachina","doi":"10.14198/fem.2022.40.10","DOIUrl":"https://doi.org/10.14198/fem.2022.40.10","url":null,"abstract":"Los desplazamientos forzados en Centroamérica, causados especialmente por la violencia que domina el territorio, responden a un movimiento migratorio en el cual las mujeres, por su condición de género, resultan más vulnerables. La violencia de género es una de las causas principales de migración y una constante que sufren las mujeres durante todo el trayecto. El arte constituye una herramienta de reflexión y visibilización de aspectos de la realidad próximos a las artistas. Por ello, analizar el proceso migratorio desde el ámbito artístico posibilita comprender el fenómeno estudiado desde otras perspectivas, aportando nuevos conocimientos. En este sentido, las obras de arte, cuyas narrativas presentan las múltiples experiencias del desplazamiento, generan diversas estéticas influenciadas por la confluencia de expresiones culturales que desarticulan las representaciones normativas, actuando sobre la percepción de quien observa. Partiendo de este contexto, el objetivo principal de esta investigación residió en analizar las prácticas de artistas centroamericanas cuyas narrativas se fundamentan en representar dicho fenómeno. Para tal fin, se empleó una metodología fundamentada en la crítica de arte feminista que pusiera en valor las experiencias de las mujeres, como sujetos creadores, quienes desde su propia mirada presentan narrativas y estrategias que renuevan conceptos estéticos hegemónicos. Asimismo, se emplearon métodos propios del ámbito del arte para analizar las producciones artísticas. Los principales resultados obtenidos posibilitan radiografiar cada periodo del proceso migratorio en el cual la categoría mujer es representada según parámetros propios de la cultura identitaria centroamericana, sin centrarse exclusivamente en la violencia que sufren las mujeres en los desplazamientos forzados.","PeriodicalId":32557,"journal":{"name":"Feminismos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42653191","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 article examines Pornoterrorismo (2011), written by Spanish transfeminist poet and performer Diana J. Torres. In this book, the author mixes autobiographical details with personal reflections that have motivated her work and includes a selection of pornoterrorista poetry. Through a close reading of the narrative and poetic voice, this essay shows how Pornoterrorismo constructs a transfeminist discourse of radical negativity based on the discursive figure of the dyke as a fractured, monstrous subject that ultimately expands the realm of queer negativity. First, I focus on how Torres explores the symbolic potential of dyke sexual practices throughout her narrative in order to challenge some of the underlaying assumptions in the original formulations of the antisocial thesis in queer theory originally elaborated by Lee Edelman and Leo Bersani. I will show how the dyke practices that Torres stages and that she describes in detail reveal the gender bias that marks the original theorization of the antisocial turn in queer theory. Second, I propose queer terrorism as a radical antisocial politics of transfeminist negativity. Here, I argue that there is an affective connection between Torres’s performance with the material effects of terrorism that would be, precisely, that of provoking terror in a heteronormative society. Through the affective violence that is given off through her autobiographical account until the adoption of her artistic name, as well as a detailed analysis of her poem «Hijxs de puta» [Kids of Bitches], I will show how queer terrorism shapes the pornoterrorista answer to the attacks of a heteronormative society. Ultimately, this article aims to contribute to the study and delimitation of a transfeminist literary corpus written by its protagonists —texts that share a legitimization of life experience with a broadening, adaptation, or reinterpretation of feminist queer theory, situated in the contemporary Spanish context.
{"title":"Pornoterrorism: Antisocial Dykes in the Spanish Transfeminist Movement","authors":"Ana Almar Liante","doi":"10.14198/fem.2022.40.07","DOIUrl":"https://doi.org/10.14198/fem.2022.40.07","url":null,"abstract":"This article examines Pornoterrorismo (2011), written by Spanish transfeminist poet and performer Diana J. Torres. In this book, the author mixes autobiographical details with personal reflections that have motivated her work and includes a selection of pornoterrorista poetry. Through a close reading of the narrative and poetic voice, this essay shows how Pornoterrorismo constructs a transfeminist discourse of radical negativity based on the discursive figure of the dyke as a fractured, monstrous subject that ultimately expands the realm of queer negativity. First, I focus on how Torres explores the symbolic potential of dyke sexual practices throughout her narrative in order to challenge some of the underlaying assumptions in the original formulations of the antisocial thesis in queer theory originally elaborated by Lee Edelman and Leo Bersani. I will show how the dyke practices that Torres stages and that she describes in detail reveal the gender bias that marks the original theorization of the antisocial turn in queer theory. Second, I propose queer terrorism as a radical antisocial politics of transfeminist negativity. Here, I argue that there is an affective connection between Torres’s performance with the material effects of terrorism that would be, precisely, that of provoking terror in a heteronormative society. Through the affective violence that is given off through her autobiographical account until the adoption of her artistic name, as well as a detailed analysis of her poem «Hijxs de puta» [Kids of Bitches], I will show how queer terrorism shapes the pornoterrorista answer to the attacks of a heteronormative society. Ultimately, this article aims to contribute to the study and delimitation of a transfeminist literary corpus written by its protagonists —texts that share a legitimization of life experience with a broadening, adaptation, or reinterpretation of feminist queer theory, situated in the contemporary Spanish context.","PeriodicalId":32557,"journal":{"name":"Feminismos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44510219","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 aim of this article is to analyze Toni Morrison’s understudied influence on music and visual art. In 1994 she established the Atelier Program in Princeton University as an interdisciplinary arts program that supported and nurtured multifaceted collaborations between artists and students from different disciplines. Moreover, her oeuvre shows her craft in a number of literary and artistic spheres that include writing novels, short stories, children’s books, literary criticism, song cycles and the script for a musical and a play. Keeping in mind Morrison’s multidimensional engagement with literature and the other arts, the first half of the article delves into the contemporary musical responses to the writer, placing special emphasis on black women musicians such as rapper Akua Naru, neo-soul vocalist India Arie, and singer and songwriter Janelle Monáe. Morrison’s intersectional representations of gender and race relations across the history of the U.S. have similarly inspired visual artists. The second half of the article explores the visual creations by U.S. black women artists Kara Walker, Lorna Simpson and Amy Sherald. Morrison’s manifold articulations of blackness and womanhood similarly resonate on the other side of the Atlantic through the work of Lubaina Himid, the first black British artist to win the prestigious Turner Prize in 2017.
{"title":"Beyond Literature: Toni Morrison’s Musical and Visual Legacy For Black Women Artists","authors":"Rocío Cobo-Piñero","doi":"10.14198/fem.2022.40.02","DOIUrl":"https://doi.org/10.14198/fem.2022.40.02","url":null,"abstract":"The aim of this article is to analyze Toni Morrison’s understudied influence on music and visual art. In 1994 she established the Atelier Program in Princeton University as an interdisciplinary arts program that supported and nurtured multifaceted collaborations between artists and students from different disciplines. Moreover, her oeuvre shows her craft in a number of literary and artistic spheres that include writing novels, short stories, children’s books, literary criticism, song cycles and the script for a musical and a play. Keeping in mind Morrison’s multidimensional engagement with literature and the other arts, the first half of the article delves into the contemporary musical responses to the writer, placing special emphasis on black women musicians such as rapper Akua Naru, neo-soul vocalist India Arie, and singer and songwriter Janelle Monáe. Morrison’s intersectional representations of gender and race relations across the history of the U.S. have similarly inspired visual artists. The second half of the article explores the visual creations by U.S. black women artists Kara Walker, Lorna Simpson and Amy Sherald. Morrison’s manifold articulations of blackness and womanhood similarly resonate on the other side of the Atlantic through the work of Lubaina Himid, the first black British artist to win the prestigious Turner Prize in 2017.","PeriodicalId":32557,"journal":{"name":"Feminismos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42174532","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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