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"A sensible, humane, clear, direct voice revealing important strengths (Walker) and weaknesses (Drabble, Emecheta) in these novelists' aesthetics concerning femaleness". -- Choice
In the twenty-first century, American popular culture increasingly makes visible the performance of African spirituality by black women. Disney’s Princess and the Frog and Pirates of the Caribbean franchise are two notable examples. The reliance on the black priestess of African-derived religion as an archetype, however, has a much longer history steeped in the colonial othering of Haitian Vodou and American imperialist fantasies about so-called ‘black magic’. Within this cinematic study, Martin unravels how religious autonomy impacts the identity, function, and perception of Africana women in the American popular imagination. Martin interrogates seventy-five years of American film representations of black women engaged in conjure, hoodoo, obeah, or Voodoo to discern what happens when race, gender, and African spirituality collide. She develops the framework of Voodoo aesthetics, or the inscription of African cosmologies on the black female body, as the theoretical lens through which to scrutinize black female religious performance in film. Martin places the genre of film in conversation with black feminist/womanist criticism, offering an interdisciplinary approach to film analysis. Positioning the black priestess as another iteration of Patricia Hill Collins’ notion of controlling images, Martin theorizes whether film functions as a safe space for a racial and gendered embodiment in the performance of African diasporic religion. Approaching the close reading of eight signature films from a black female spectatorship, Martin works chronologically to express the trajectory of the black priestess as cinematic motif over the last century of filmmaking. Conceptually, Martin recalibrates the scholarship on black women and representation by distinctly centering black women as ritual specialists and Black Atlantic spirituality on the silver screen.
The question is not whether Shakespeare studies needs feminism, but whether feminism needs Shakespeare. This is the explicitly political approach taken in the dynamic and newly updated edition of A Feminist Companion to Shakespeare. Provides the definitive feminist statement on Shakespeare for the 21st century Updates address some of the newest theatrical andcreative engagements with Shakespeare, offering fresh insights into Shakespeare’s plays and poems, and gender dynamics in early modern England Contributors come from across the feminist generations and from various stages in their careers to address what is new in the field in terms of historical and textual discovery Explores issues vital to feminist inquiry, including race, sexuality, the body, queer politics, social economies, religion, and capitalism In addition to highlighting changes, it draws attention to the strong continuities of scholarship in this field over the course of the history of feminist criticism of Shakespeare The previous edition was a recipient of a Choice Outstanding Academic Title award; this second edition maintains its coverage and range, and bringsthe scholarship right up to the present day
Third wave womanism is a new movement within religious studies with deep roots in the tradition of womanist religious thought—while also departing from it in key ways. After a helpful and orienting introduction, this volume gathers essays from established and emerging scholars whose work is among the most lively and innovative scholarship today. The result is a lively conversation in which 'to question is not to disavow; to depart is not necessarily to reject' and where questioning and departing are indications of the productive growth and expansion of an important academic and religious movement.
It is often said that bioethics emerged from theology in the 1960s, and that since then it has grown into a secular enterprise, yielding to other disciplines and professions such as philosophy and law. During the 1970s and 1980s, a kind of secularism in biomedicine and related areas was encouraged by the need for a neutral language that could provide common ground for guiding clinical practice and research protocols. Tom Beauchamp and James Childress, in their pivotal The Principles of Biomedical Ethics, achieved this neutrality through an approach that came to be known as "principlist bioethics." In Pastoral Aesthetics, Nathan Carlin critically engages Beauchamp and Childress by revisiting the role of religion in bioethics and argues that pastoral theologians can enrich moral imagination in bioethics by cultivating an aesthetic sensibility that is theologically-informed, psychologically-sophisticated, therapeutically-oriented, and experientially-grounded. To achieve these ends, Carlin employs Paul Tillich's method of correlation by positioning four principles of bioethics with four images of pastoral care, drawing on a range of sources, including painting, fiction, memoir, poetry, journalism, cultural studies, clinical journals, classic cases in bioethics, and original pastoral care conversations. What emerges is a form of interdisciplinary inquiry that will be of special interest to bioethicists, theologians, and chaplains.
Bringing together criticism on both African American and Native American women writers, this book offers fresh perspectives on art and beauty, truth, justice, community, and the making of a good and happy life. The essays draw on interdisciplinary, feminist, and comparative methods in the works of writers such as Toni Morrison, Leslie Silko, Alice Walker, Linda Hogan, Paula Gunn Allen, Luci Tapahonso, Phillis Wheatley, and Sherley Anne Williams, making them more accessible for critical consideration in the fields of aesthetics, philosophy, and critical theory. The contributors formulate unique frameworks for interpreting the multiple levels of complex, cultural play between Native American and African American women writers in America, and pave the way for innovative hermeneutic possibilities for reassessing writers of both traditions.
This book celebrates the importance and influence of Daughters of the Dust and positions it within the discourses of Black Feminism, Womanism, the LA Rebellion, New Black Cinema, Great Migration, The Black Arts tradition, Oral History, African American/Black/ African diasporan Studies, and Black film/cinema studies.
The Cambridge Companion to the African American Novel presents new essays covering the one hundred and fifty year history of the African American novel. Experts in the field from the US and Europe address some of the major issues in the genre: passing, the Protest novel, the Blues novel, and womanism among others. The essays are full of fresh insights for students into the symbolic, aesthetic, and political function of canonical and non-canonical fiction. Chapters examine works by Ralph Ellison, Leon Forrest, Toni Morrison, Ishmael Reed, Alice Walker, John Edgar Wideman, and many others. They reflect a range of critical methods intended to prompt new and experienced readers to consider the African American novel as a cultural and literary act of extraordinary significance. This volume, including a chronology and guide to further reading, is an important resource for students and teachers alike.
Focus on the works of Toni Morrison, Gaye Jones, and Alice Walker.
Draws on mid-seventeenth to nineteenth-century slave narratives to describe oppression in the lives of enslaved African women. Investigates pre-colonial West and West Central African women's lives prior to European arrival to recover the cultural traditions and religious practices that helped enslaved women combat violence and oppression.