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Black feminist thought essay
Feminism and black women's studies
Black feminism womens movement
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Scholars engaging in Womanist biblical hermeneutics transform certain strands of biblical interpretation by drawing from literary, biblical, and other extra-biblical sources as a means to illuminate the hegemonic, patriarchal and kyriarchal powers that render Black women exploited, marginalized and oppressed. Philosopher, Clarice Martin and biblical scholar Nyasha Junior’s scholarship highlights American Womanist religious studies scholar’s appropriation of Alice Walker’s definition and concept of womanism as employed in her text In Search of Our Mother’s Garden to reflect their distinctive focus on African American women in their scholarship. Additionally, Junior charts the development of the term “womanist” throughout the expansion of womanist …show more content…
biblical interpretation and religious discourse placing emphasis on the development of African and Africana womanism in order to underscore the difference between American and African womanisms as well as womanists of women living in other diasporic locations. Martin notes how the subject of womanist biblical interpretation came to the fore in conjunction with the growing body of literature on “womanist theology.” Her observation reflects the ongoing academic work of womanist scholars in a variety of disciplines as contributors to womanist biblical hermeneutical theories, methodologies, and discourse. Biblical scholar Mitzi Smith’s scholarship also highlights womanist biblical interpreter’s appropriation of Alice Walker’s womanism as she provides in the first part of her anthology, Alice Walker’s definitions of Womanist as well as articles on Womanist interpretative theory. Theologian Delores Williams specifically analyzes Alice Walker’s use of feminist issues to structure The Color Purple, as a means of highlighting Walker’s talk about Black motherhood in African American literature as a means to portray how some postbellum women writers provide images of black motherhood that are radically different than what their white male counterparts projected within their works.
Williams also evaluates the story of Hagar in order to compare Hagar’s life with the lives of contemporary black women so to underscore their shared histories under oppressive forces. Ethicists Katie Canon understands Black Feminist Consciousness as more accurately identified as Black Womanist Consciousness according to Alice Walker’s concept and definition. Canon’s failure to describe the two as distinct personal identifiers suggests that she understands Black female consciousness as womanist thereby imposing an identity on women who might not claim womanist subjectivity. This point is further made through Junior’s scholarship as it reflects that African American women do not universally accept the “womanist” definition or identifying title. In addition, while Junior notes bell hook’s concerns about how the term womanism connotes a negativity that pits Black women with white women, none of the scholars raise questions about or discuss whether the identity markers of “feminist” or “womanist” inhibit collaboration and solidarity among Black
women.
*Evelyn Brooks Higginbotham. "African American Women's History and the Metalanguage of Race" in Feminism and History, ed. Joan Wallach Scott (NY: Oxford University Press, 1996), 201.
The black women’s interaction with her oppressive environment during Revolutionary period or the antebellum America was the only way of her survival. Playing her role, and being part of her community that is not always pleasant takes a lot of courage, and optimism for better tomorrow. The autonomy of a slave women still existed even if most of her natural rights were taken. As opposed to her counterparts
In a culture where even white women were generally looked down upon within the male dominated society in which they lived, the unique story of one “mulatto” women’s journey through slavery and religious faith in America in the eighteenth century stands out, and provides a look into the origins of the black church itself. Rebecca’s Revival: Creating Black Christianity in the Atlantic World by Jon F. Sensbach aims to tell the story of Rebecca Protten, a freed slave turned evangelist, whom being neither illiterate nor invisible as many free slaves were thought to have been, traveled around sharing the love of Jesus and converting slaves from all over St. Thomas, ultimately assisting in the establishment of the
Interstitial politics, defined by Kimberly Springer as a “politics in the cracks” is also a key element in intersectional analysis. As Black feminists it’s our job to locate places of contradiction and conflict, because in working alongside these sites of power and gatekeeping, we can achieve a better knowledge of how they operate as well as develop strategies to dismantle them. This embracing of sociopolitical dissonance embodies the spirit of dialectical practices in Black feminism. In the chapter “Distinguishing Features of Black Feminist Thought” Patricia Hill Collins emphasizes that
Brown stresses the importance of recognizing that being a woman is not extractable from the context in which one is a woman. She examines how both black and white women’s lives are shaped by race and gender, and how these affect life choices. Historically, women of color have filled roles previously attributed to white women
Rooks, Noliwe. The Women Who Said, I AM. Vol. Sage: A Scholarly Journal On Black Women 1988.
Collins, Patricia. Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment. New York, NY: Routledge, 2000
Deborah Gray White’s Ar’n’t I a Woman? details the grueling experiences of the African American female slaves on Southern plantations. White resented the fact that African American women were nearly invisible throughout historical text, because many historians failed to see them as important contributors to America’s social, economic, or political development (3). Despite limited historical sources, she was determined to establish the African American woman as an intricate part of American history, and thus, White first published her novel in 1985. However, the novel has since been revised to include newly revealed sources that have been worked into the novel. Ar’n’t I a Woman? presents African American females’ struggle with race and gender through the years of slavery and Reconstruction. The novel also depicts the courage behind the female slave resistance to the sexual, racial, and psychological subjugation they faced at the hands of slave masters and their wives. The study argues that “slave women were not submissive, subordinate, or prudish and that they were not expected to be (22).” Essentially, White declares the unique and complex nature of the prejudices endured by African American females, and contends that the oppression of their community were unlike those of the black male or white female communities.
“I tried to demonstrate how both the cross cultural literature and the history of African American women gave the lie to the nation that gender inequality can be attributed to biological differences” (Mullings, page xvii)
Beale, Frances. "Double Jeopardy: To Be Black and Female." An Anthology of African-American Feminist Thought. New York: New, 1995. 146. Print.
Womanist biblical hermeneutics centers Black women’s experience and identity, social location, historical memory, a hermeneutics of suspicion, and a hermeneutics of affirmation. In addition, womanist biblical hermeneutics are radical and subversive forms of biblical interpretation that provide multi-dimensional systemic analysis and critique, acknowledge and affirm a multiplicity of voices and identities. Womanist biblical hermeneutics provide a means for Black women to critique unjust forms of oppression, discourse, and practices, especially in relation to the use of scripture in order to facilitate social transformation. This bibliographic essay will map the various conceptual frameworks and methods of religious scholars engaging in womanist’s
From the earlier forms of fetishizing over Saartjie Baartman in Europe, the dehumanization of black women as “mammies,” to Daniel Patrick Moynihan’s controversial Moynihan Report in 1965, African and African American female identity has been under the direct possession of white people. White Americans have continued to define the black female’s position within society by creating her narrative based on inequitable economic and societal conditions as well as gender norms that have outlined what it means to be a “true” black woman. Her behavior and body has been examined [and understood] through her direct contrast to white women, her role in supporting the white race
• AW calls herself “a womanist “, her term for a black feminist. She is one of the female Afro-American writers founding the concept “New Black Renaissance” .
The number of feminist scholars critically assessing Biblical narrative has risen since the second feminist movement of the 1970s (Scholz 2014). A common theme of their scholarship has been to what extent the Bible may be seen to favour men. Some feminist scholars may not be able to legitimately assess the Bible and remain faithful to it because of such outdated views on women in a time when women’s equality is encouraged. I will firstly discuss the difficulties of being a feminist scholar and a Christian or Jew with particular reference to belonging to men, being of less value in society, and finally with a focus on key issues arising from Genesis 2 and 3 whereby gender roles and woman’s blame for the Fall of Man have been central to feminist interpretations. I will then assess ways in which such difficulties may be overcome with a different interpretation, beginning with refuting claims concerning the Creation story. This will be followed by analysing how the Bible is read and the value of historical context when doing so. By discussing these aspects, I will reach a conclusion as to how far you can be both a feminist scholar and a faithful Christian or Jew.
Garden, by Allison Pratt is a two-dimensional artwork that was created in 2015 using acrylic and joint compound on canvas. This work can be found in her studio in Jacksonville, Illinois. This work of art appears to be an abstract painting, but after further inspection, the depth of the subject and content gradually become clear. Pratt created Garden after losing her father in 2015, and if you look very closely at the middle of the painting, it spells out the word “love,” it is a beautiful personal expression of love and loss. Pratt used a substantial amount of color, lines, and texture which all tie it together to create a perfervid work of art.