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Role of women in colonial eras
Role of women in colonial eras
Role of women in colonial eras
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For this book report, I choose the book written by Barbara Chase-Riboud called Hottentot Venus. This book is about a real female from the KhoeKhoe nation and her tragic life. This Young Khoisan, Ssehura, is an orphan in South Africa around the 1700s. After becoming a slave by a Dutch Afrikaner, her name changed to Saartjie (means Little Sarah in Dutch.) As the story goes on, it explains more of Saartjie’s culture, which includes the grooming to be more desirable for marriage. In Khoisan’s culture, female massage their buttocks with special ointment so they will swell, and their genitalia are also stretched. Because of this, Saartjie becomes a physical curiosity and sexual fetish to her white master. Later on, the white master is persuaded by an Englishman to send her to London to become a sideshow sensation. There, along with other “things-that-never-should-never-have-been-born,” she becomes known as “Hottentot Venus.” The story moved on until the end where Saartjie speaks as a dissected corpse stripped of her womanhood by scientists determined to confirm her as the missing link in the Great Chain of Being. The book is opened with a Heroine’s Note to tell us more about how the name Hottentot comes to be. It is around 1619, where the Portuguese discovers the KhoeKhoe nation in the Eastern Coast of South Africa. The Portuguese then are followed by the Dutch who named the Khoisan, Hottentot, which means “stutterer” in Dutch because of the way the Khoisan’s language sounds. Dutch are the ones who introduced the clan to private properties, land theft, and fences. The English succeeds the Dutch, and they organized the Khoisan into categories of Hottentots, Negroes, and Bushmen, while claming themselves and others like them white. On January 1816, the story is opened on the day of Saartjie’s Birthday which also falls on the day of New Year. Since it is a holiday, the circus in Paris or what Saartjie calls “the freak show” close. In this chapter we learn that Saartjie has serious illness, where she can be burning with fever and her chest would be in pain while she is coughing out blood. She has never heard of this kind of sickness in her clan and only until her white servant, Alice Unicorn, tells her about it that she finally understands. Saartjie then move on to describing the freak show and how she has to stay in an eight-by-twelve-foot bamboo cage, almost naked in the cold, surrounded by white faces showing all looks of pity, horror, and terror.
Gender, Race and Nation: The Comparative Anatomy of “Hottentot” Women in Europe 1815-17 was written by Anne Fausto-Sterling. Another similarity in both texts is the way that black women were compared to animals and other objects as a way of de-humanizing them. Baartman was often compared to an ape because of her stature, in the text the author states, “The hottentot worked as a double trope. As a woman of color, she served as primitive: she was both female and racial link to nature- two for the price of one.”
Saikaku, Ihara. Life of a Sensuous Woman. The Longman Anthology of World Literature. (Vol. D) Ed. Damrosch. New York: Pearson, 2004. 604-621. [Excerpt.]
There have been different significant meanings about the Venus of Willendorf, which is fertility, good luck, and a mother goddess. The Venus of Willendorf statue was found at Willendorf, Austria in 1908. It is 4 3/8 inches and made between 28,000-25,000 B.C.E. It was made from limestone with a tint of red orchard. It has an abstract body of a nude woman with enlarged parts. She has little hand that overlap over the breast, and appear to have no feet. There is no face on the head, but it appears to be a cap or maybe curls on the head.
The center of discussion and analysis about the sex/gender system focus on the differences between African, European and Creole Women. The sex/gender system describe by Morgan focus on their production, body and kinship. European women are seen as domestic, African women’s work overlaps between agricultural and pastoral. They’ll work in the field non-stop, even after giving birth. African women hold knowledge about the pastoral and agricultural work “in the planting and cultivation of fields the daily task of a good Negro Woman” (145). While Creole women were subordinated, with the job of produce and reproduce. When it came to body, European women’s bodies were seeing as fragile. After birth the rest for a while before they could stand back again or return to their activities “European observers believed the post-delivery period of abstinence lasted three months, and others commented up two- to three year period o...
Venus figurines are found across the globe, in varying cultures, and throughout various time periods. These figurines have a great variety across the cultures they are present in including what materials they are made out of, their relative size, and the intricacy involved in the creation of the figurine. Despite these differences there are some major similarities: all Venus figurines are unclothed depictions of women with exaggerated features. There are many theories as to the meaning and reason behind the Venus figurines and whether they had a singular meaning and reason behind them or if these figurines had various purposes across the cultures.
African literature is rich with examples of the plight that African women suffered during the political and social changes the continent experienced after colonialism. In Ama Aito Aidoo’s short story “Two Sisters”, and “Wedding at the Cross”, the lives of three different women are explored as they navigate a world dominated by not only the men in their lives, but by the omnipresent feeling of colonialism. The women in Aidoo’s “Two Sisters” Mercy and Connie, represent some of the difficulties perpetrated by the rigid societal structure they exist under, and the oppressing force of the men in their lives. Similarly, in “Wedding at the Cross”, the main female protagonist, Miriamu, is bound by societal pressures to assume the role of obedient housewife, and undergoes a loss of self after her husband is consumed with gaining success in post-colonial Africa. Through these stories Aiddo and Thiongo’o represent African women and their struggles as well as their journey to assert themselves independently from the men in their life and their society during a time where the continent itself was struggling with its own identity in the aftermath of Western colonization.
In classic literature, sexual influences depict a valuable and symbolic significance to the plot and theme of specific novels. In A Thousand Splendid Suns, Khaled Hosseini uses sex as a controlling act that dehumanizes and condemns his characters into the stereotypical role portrayed by women. Mariam and Laila--Hosseini’s main protagonists--both experienced frequent sexual trauma, among other methods of abuse, that molded them into victims of their environment and culture. Their culture--including the setting of the novel and the circumstances in which their culture functioned traditionally--provided this trauma to them through men, or a particular man, who felt that violence and sexual distress towards Mariam and Laila would help control
Mary K. DeShazer. The Longman Anthology of Women's Literature: from Incidents in the Life of a Slave Girl. New York: Longman, 2001.
Set in post-colonial Senegal, Sembene ascribes great significance to African femininity by naming his film after a female character and heroine of the film, Faat Kine. Although Kine is initially depicted as a victim of male supremacy, she is eventually represented as an archetypal figure of resilience and independence. Impregnated by her instructor as a teenager, Faat suffered severe social degradation and condemnation even from her father. Despite the significant part played by the man in Kine’s ordeal, he is neither chastised nor stigmatised by the outcome of their perpetration, but rather his life proceeds in some semblance of order. In addition, Kine is betrayed by her criminal husband who absconds with her life savings leaving her penniless with two children. Nonetheless, she single-handedly raises two children without any masculine presence. Kine’s pillars of emotional and spiritual strength are her family (mother and children) as well as her friends, which is divergent from the African customary convictions of the man as sole supporter of woman. Evidently, the men in Kine’s life are highly instrumental to her anguish and yet irrelevant to her survival. Sembene uses Kine’s ordeals to display the plight and cultural marginalization of the African woman.
Nagarajan, Chitra. "Femen's Obsession with Nudity Feeds a Racist Colonial Feminism." TheGuardian.com. Guardian News and Media, 11 Apr. 2013. Web.
The Black Venus is obviously my favorite piece of artwork. I immediately became drawn into it, not even know the background information behind the piece or the artist. The artist behind the “Black Venus” is Niki De Saint-Phalle. I found out some of her other works contrast from the Black Venus, however, I did find one piece which is similar is its message. A similar sculpture by Niki De Saint, called “Les Trois Grâces” (“The Three Graces”) can be compared to the “Black Venus” due to the large, full-figured sculptures, standing tall with grace. It is likely that her artwork was a part of a feminist movement. According to Lipton (2015), “In 1968, Niki De Saint Phalle wrote on a drawing, “I had to take my diet pills …gained five pounds around
In the documentary “Blooms of Banjeli” Candice Gaucher and Eugenia Herbert traveled to Togo in the 1980s to witness the traditional process of iron-smelting technology and it’s relationship to African conception of gender. The furnace, which is housing the iron, is represented as a woman or a womb that delivers the iron after it has been smelted. The master smelter, always a male, is the creator and provides the furnace, the female vessel, the essentials for life and birth. Before the smelting commences there are many rituals that must be completed such as the use of furnace decoration, fertility medicines, and the exclusion of women who menstruating. It is important to note that men are the only ones engaging in the procreative symbolic practice of inciting the furnace to give iron, or rather birth. Human women are excluded from this practice because they may impede the birthing process of the metaphorically female iron
Venus, what do you symbolize? Venus figurines were created during the upper Paleolithic period, ranging from 50,000 to 10,000 years ago. The famous Venus figurines are found all throughout Europe. These figurines have been carved by Stone Age sculptors many years ago. They sculpted these famous figurines with numerous materials like limestone, bone, ivory, wood, or clay. There are many styles of the famous Venus: Venus of Willendorf, Venus of Tan-Tan, Venus of Engen, and countless more. Each one made with its own unique style. Although Venus figurines are different from where they originated from they all share similarities: in size, the shape of their belly is wide and diamond-like, and they generally do not have feet, arms or facial detail. Many scholars don’t know that she stands for, but there are various theories for what they may stand for.
1. In the Botticelli work at the Uffizi, what concept of the Renaissance did most of the work of Botticelli relate to? During Botticelli era of renaissance, the culture shifted from religion to science along with mystical theories. When viewing Botticelli’s work at Uffizi website, noticeably his work related to mythological subjects during Renaissance. Paintings such as “Birth of Venus” by Botticelli on the Uffizi website display mythological art. This piece of art describes the birth of Goddess Venus on a sea shell yet fully grown. In addition, this painting exemplifies Botticelli’s mythological impact on Renaissance.
Hector, I agree that Venus of Urbino is a beautiful High Renessaince art painting. I think Titian's commitment to rendering the woman body accurately, yet elegantly is a sure sign of High Renessaince art in Italy. All great artists of this era were devoted to intelligently constructing their works of art, characteristics like detailed proportion and perspective can be seen throughout High Renessaince art. We see this in Venus of Urbino as much as we see it in pieces like the Mona Lisa. Both Venus and Mona Lisa were created by their respective artists with precise and accurate proportioning of the human body– no arm, leg or curve seems out of place or unnatural.