Download e-book for iPad: Black Venus 2010: They Called Her "Hottentot" by Deborah Willis

By Deborah Willis

ISBN-10: 1439902046

ISBN-13: 9781439902042

As a tender South African lady of approximately twenty, Saartjie Baartman, the so-called 'Hottentot Venus', was once delivered to London and put on show in 1810. Clad within the Victorian similar of a physique stocking, and paraded throughout the streets and on degree in a cage she grew to become a human spectacle in London and Paris. Baartman's specified body grew to become the article of ridicule, interest, clinical inquiry, and hope until eventually and after her untimely demise. The determine of Sarah Baartman used to be diminished to her sexual components. "Black Venus 2010" lines Baartman's reminiscence in our collective histories, in addition to her symbolic heritage within the development and id of black ladies as artists, performers, and icons. The wide-ranging essays, poems, and photographs in "Black Venus 2010" symbolize probably the most compelling responses to Baartman. each grapples with the iconic legacy of this younger African lady who eternally continues to be a touchstone for black ladies. participants comprise: Elizabeth Alexander, Holly Bass, Petrushka A Bazin, William Jelani Cobb, Lisa Gail Collins, Renee Cox, J. Yolande Daniels, Carole Boyce Davies, Leon de Wailly, Manthia Diawara, Diana Ferrus, Cheryl Finley, Nikky Finney, Kianga okay. Ford, Terri Francis, Sander Gilman, Renee eco-friendly, pleasure Gregory, Lyle Ashton Harris, Michael D. Harris, Linda Susan Jackson, Kellie Jones, Roshini Kempadoo, Simone Leigh, Zine Magubane, E. Ethelbert Miller, Robin Mitchell, Charmaine Nelson, Tracey Rose, Radcliffe Roye, Bernadette Searle, Lorna Simpson, Debra S. Singer, Penny Siopis, Hank Willis Thomas, Kara Walker, Michele Wallace, Carla Williams, Carrie Mae Weems, J. T. Zealy, and the editor.

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Additional resources for Black Venus 2010: They Called Her "Hottentot"

Sample text

Woman as Sex Object (New York: Newsweek, 1972), 81–89. 4. P. Rebeyrol, “Baudelaire et Manet,” Les temps modernes 5 (1949): 707–725. 5. Georges Bataille, Manet, trans. A. Wainhouse and James Emmons (New York: Skira, 1956), 13. 6. Edmund Bazire’s 1884 view of Nana is cited by Anne Coffin Hanson, Manet and the Modern Tradition (New Haven: Yale University Press, 1977), 130. 7. See my On Blackness without Blacks: Essays on the Image of the Black in Germany (Boston: G. K. Hall, 1982). , L’image du noir dans l’art occidental (Paris: Bibliothèque des Arts, 1976–).

Both Manet’s and Zola’s images recall the bustle that Nana would have worn once dressed. ) The bustle (or tounure) was the height of fashion between 1865 and 1876 (and again in the mid-1880s). Worn with a tightly laced bodice, the bustle gave the female a look of the primitive and the erotic while staying safely within the bounds of middleclass fashion. Both the woman wearing a bustle and those who observed her knew the accessory was artificial but they were also aware of its symbolic implications.

Parent-Duchatelet, De la prostitution dans la ville de Paris (Paris: J. B. Baillière, 1836), 1:193–244. 34. On Prostitution in the City of Paris (London: T. Burgess, 1840), 38. It is of interest that it is exactly the passages on the physiognomy and appearance of the prostitute which this anonymous translator presents to an English audience as the essence of Parent-Duchatelet’s work. 35. Editor’s note: See Sander Gilman, “Male Stereotypes of Female Sexuality in Fin-de-Siècle Vienna,” Difference and Pathology (Ithaca: Cornell, 1985), 39–58.

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Black Venus 2010: They Called Her "Hottentot" by Deborah Willis

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