考文伯格的《强奸黑人

IF 0.2 Q4 WOMENS STUDIES Meridians-Feminism Race Transnationalism Pub Date : 2023-04-01 DOI:10.1215/15366936-10220524
Amey Victoria Adkins-Jones
{"title":"考文伯格的《强奸黑人","authors":"Amey Victoria Adkins-Jones","doi":"10.1215/15366936-10220524","DOIUrl":null,"url":null,"abstract":"\n This essay analyzes Christiaen van Couwenbergh’s The Rape of the Negress (1632). The author argues the image as theological artifact, capturing the emergence of a white colonial gaze and the Dutch state concern of Christian piety as an emerging colonial power. The article reviews the context of the image and the art reception history that resisted naming it an image of rape. The author juxtaposes the painting with a Marian statue hidden and thus saved from the Dutch iconoclasm—now one of the most famous Black Madonnas in Europe—to locate theologically the process of colonial unseeing and the refusal to name Black female flesh as sacred. She rereads these visual artifacts through the question of iconicity, and claim these images as sites of Black feminist fugitivity and resistance.","PeriodicalId":54178,"journal":{"name":"Meridians-Feminism Race Transnationalism","volume":"200 1","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Couwenbergh’s The Rape of the Negress\",\"authors\":\"Amey Victoria Adkins-Jones\",\"doi\":\"10.1215/15366936-10220524\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n This essay analyzes Christiaen van Couwenbergh’s The Rape of the Negress (1632). The author argues the image as theological artifact, capturing the emergence of a white colonial gaze and the Dutch state concern of Christian piety as an emerging colonial power. The article reviews the context of the image and the art reception history that resisted naming it an image of rape. The author juxtaposes the painting with a Marian statue hidden and thus saved from the Dutch iconoclasm—now one of the most famous Black Madonnas in Europe—to locate theologically the process of colonial unseeing and the refusal to name Black female flesh as sacred. She rereads these visual artifacts through the question of iconicity, and claim these images as sites of Black feminist fugitivity and resistance.\",\"PeriodicalId\":54178,\"journal\":{\"name\":\"Meridians-Feminism Race Transnationalism\",\"volume\":\"200 1\",\"pages\":\"\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2023-04-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Meridians-Feminism Race Transnationalism\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1215/15366936-10220524\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q4\",\"JCRName\":\"WOMENS STUDIES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Meridians-Feminism Race Transnationalism","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1215/15366936-10220524","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"WOMENS STUDIES","Score":null,"Total":0}
引用次数: 0

摘要

本文分析了克里斯蒂安·范·考文伯格的《强奸黑人》(1632)。作者认为这幅图像是神学上的人工制品,捕捉到了白人殖民者的目光和荷兰国家对基督教虔诚作为新兴殖民力量的关注。文章回顾了这幅图像的背景和拒绝将其命名为强奸图像的艺术接受历史。作者将这幅画与一尊隐藏起来的玛丽安雕像并置,并因此从荷兰的反偶像主义中获救——现在是欧洲最著名的黑人圣母像之一——从神学上定位了殖民时期的视而不见和拒绝将黑人女性肉体称为神圣的过程。她通过象似性的问题重新解读了这些视觉文物,并声称这些图像是黑人女权主义逃亡和抵抗的场所。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
Couwenbergh’s The Rape of the Negress
This essay analyzes Christiaen van Couwenbergh’s The Rape of the Negress (1632). The author argues the image as theological artifact, capturing the emergence of a white colonial gaze and the Dutch state concern of Christian piety as an emerging colonial power. The article reviews the context of the image and the art reception history that resisted naming it an image of rape. The author juxtaposes the painting with a Marian statue hidden and thus saved from the Dutch iconoclasm—now one of the most famous Black Madonnas in Europe—to locate theologically the process of colonial unseeing and the refusal to name Black female flesh as sacred. She rereads these visual artifacts through the question of iconicity, and claim these images as sites of Black feminist fugitivity and resistance.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
CiteScore
0.50
自引率
0.00%
发文量
24
期刊最新文献
Farm of Forgetting Between Skin and Stone Editor’s Introduction “We Are Orlando” Indigo
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1