{"title":"奴隶小屋/士兵食堂》和《他迷路了》:他迷路了","authors":"Lebogang Mashile","doi":"10.1353/mar.2023.a914923","DOIUrl":null,"url":null,"abstract":"Abstract:The award-winning play Venus vs Modernity unpacks the life of Saartjie Baartman, a South African woman of Khoi descent, who was exhibited as a freak show in nineteenth-century Europe under the name \"Hottentot Venus.\" At the peak of her fame in the early 1800s, Saartjie Baartman became a reference point for abolitionists, fashion designers, and political satirists alike. Her remains were dissected and put on display at the French National Museum for 150 years. In 2002, Saartjie Baartman was finally returned to the land of her birth.","PeriodicalId":509222,"journal":{"name":"The Massachusetts Review","volume":"142 4","pages":"231 - 236"},"PeriodicalIF":0.0000,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Slave Lodge/Soldier Eat, and: He Got Lost\",\"authors\":\"Lebogang Mashile\",\"doi\":\"10.1353/mar.2023.a914923\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract:The award-winning play Venus vs Modernity unpacks the life of Saartjie Baartman, a South African woman of Khoi descent, who was exhibited as a freak show in nineteenth-century Europe under the name \\\"Hottentot Venus.\\\" At the peak of her fame in the early 1800s, Saartjie Baartman became a reference point for abolitionists, fashion designers, and political satirists alike. Her remains were dissected and put on display at the French National Museum for 150 years. In 2002, Saartjie Baartman was finally returned to the land of her birth.\",\"PeriodicalId\":509222,\"journal\":{\"name\":\"The Massachusetts Review\",\"volume\":\"142 4\",\"pages\":\"231 - 236\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-12-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Massachusetts Review\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1353/mar.2023.a914923\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Massachusetts Review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/mar.2023.a914923","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Abstract:The award-winning play Venus vs Modernity unpacks the life of Saartjie Baartman, a South African woman of Khoi descent, who was exhibited as a freak show in nineteenth-century Europe under the name "Hottentot Venus." At the peak of her fame in the early 1800s, Saartjie Baartman became a reference point for abolitionists, fashion designers, and political satirists alike. Her remains were dissected and put on display at the French National Museum for 150 years. In 2002, Saartjie Baartman was finally returned to the land of her birth.