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"In the critical essays collected in Black Looks, bell hooks interrogates old narratives and argues for alternative ways to look at blackness, black subjectivity, and whiteness. Her focus is on spectatorship--in particular, the way blackness and black people are experienced in literature, music, television, and especially film--and her aim is to create a radical intervention into the way we talk about race and representation. As she describes: 'The essays in Black Looks are meant to challenge and unsettle, to disrupt and subvert.' As students, scholars, activists, intellectuals, and any other readers who have engaged with the book since its original release in 1992 can attest, that's exactly what these pieces do"(Provided by publisher)
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This landmark work of history and theory challenges every accepted notion about the nature of black women’s lives. Ain’t I A Woman examines the impact of sexism on black women during slavery, the historic devaluation of black womanhood, black male sexism, racism within the recent women’s movement, and black women’s involvement with feminism. hooks refutes the antifeminist claim that black women are not victims of sexist oppression nor in need of an autonomous women’s movement. She pushes feminist dialogue to new limits by claiming that all progressive struggles are significant only when they take place within a broadly defined feminist movement which takes as its starting point that race, class, and sex are immutable facts of human existence. bell hooks’ insight as a black woman and a feminist extends the scope of feminist theory and practice for us all, and marks the emergence of a revitalized feminism in the 1980s.
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Searching the critical work of post-colonial critics, the author found much writing that bespeaks the continued fascination with the way white minds, particularly the colonial imperialist traveler, perceive blackness, and very little expressed interest in representations of whiteness in the black imagination. Some white people may even imagine there is no representation of whiteness in the black imagination, especially one that is based on concrete observation or mythic conjecture. Stereotypes black folks maintain about white folks are not the only representations of whiteness in the black imagination. Yet it is this representation of whiteness in the black imagination, first learned in the narrow confines of poor black rural community, that is sustained by the author travels to many different locations. Theorizing diverse journeying is crucial to the people understanding of any politics of location.
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There was no meaningful attempt to counter the black aesthetic with conceptual criteria for creating and evaluating art which would simultaneously acknowledge its ideological content even as it allowed for expansive notions of artistic freedom. To re-open the creative space that much of the black aesthetic movement closed down, it seems vital for those involved in contemporary black arts to engage in a revitalized discussion of aesthetics. In part, a radical aesthetic acknowledges that the people are constantly changing positions, locations, that their needs and concerns vary, that these diverse directions must correspond with shifts in critical thinking. Innovative African-American artists have rarely documented their process, their critical thinking on the subject of aesthetics. Certainly many of the revolutionary, visionary critical perspectives on music that were inherent to John Coltrane’s oppositional aesthetics and his cultural production will never be shared because they were not fully documented.
Explorer
1. Approches
2. Auteur.rice.s et créateur.rice.s
4. Corpus analysé
- Amérique centrale (1)
- Amérique du Nord (3)
4. Lieu de production du savoir
- Amérique du Nord (4)