Frontiers-A Journal of Women Studies最新文献_第10页

Play (Loudly): The Racialized Erotics of Blacksound in Spike Lee’s Do the Right Thing 播放(大声):斯派克·李的《做正确的事》中黑人声音的种族化色情

IF 1.2 4区社会学

Frontiers-A Journal of Women Studies Pub Date : 2021-05-05 DOI: 10.1353/fro.2021.0008

Gabriel A. Peoples

{"title":"Play (Loudly): The Racialized Erotics of Blacksound in Spike Lee’s Do the Right Thing","authors":"Gabriel A. Peoples","doi":"10.1353/fro.2021.0008","DOIUrl":"https://doi.org/10.1353/fro.2021.0008","url":null,"abstract":"Abstract:In her essay “Counter-Hegemonic Art: Do the Right Thing,” feminist cultural critic bell hooks writes that most viewers do not see Radio Raheem’s death in Do the Right Thing (1989) as a brutal murder, nor do critics mention it, and that the film portrays Black men’s oppression as solely racial—unrelated to gender or class. I take up her call in this essay, written on the film’s thirtieth anniversary. I also argue that intimate feelings, desires, and touch between humans are bound to imaginings of race evoked by sound, what I call the racialized erotics of sound. My performance analysis of Radio Raheem meditates on the synesthesia of his sonic and visual dissonance in white male spaces and harmony in Black and Brown spaces. The music from his boombox is a medium that brings attention to Black masculinity’s perceived loudness and homosocial/erotic engagements. Radio Raheem possesses a volume, timber, and vividness of color whose recognition leads to the increased surveillance and subduing of his unmuted presence. Radio Raheem’s rapidly circulated ubiquitous performance is a Black virality that is a synecdoche for Black men who have played and will play their radios loudly. Additionally, Radio Raheem conjures Black men perceived as so powerful that their decibels, inseparable from their racialized gender, are a threat to the peace of white spaces and the livelihood of white bodies.","PeriodicalId":46007,"journal":{"name":"Frontiers-A Journal of Women Studies","volume":"42 1","pages":"109 - 140"},"PeriodicalIF":1.2,"publicationDate":"2021-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/fro.2021.0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42406578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Interview with Martine Kei Green-Rogers 采访Martine Kei Green-Rogers

IF 1.2 4区社会学

Frontiers-A Journal of Women Studies Pub Date : 2021-05-05 DOI: 10.1353/fro.2021.0004

S. Haslam, Martine Kei Green-Rogers

引用次数: 0

Interview with Charly Evon Simpson Charly Evon Simpson访谈

IF 1.2 4区社会学

Frontiers-A Journal of Women Studies Pub Date : 2021-05-05 DOI: 10.1353/fro.2021.0001

Trey Charly Evon McEuen, C. Simpson

引用次数: 0

Interview with Nikki Yeboah 采访妮基·耶波阿

IF 1.2 4区社会学

Frontiers-A Journal of Women Studies Pub Date : 2021-05-05 DOI: 10.1353/fro.2021.0003

K. Vordos, N. Yeboah

引用次数: 0

Flyin’ High in Flyin’ West: Representing Nineteenth-Century African American Women in Performance 《飞向西部:19世纪非裔美国女性在表演中的表现

IF 1.2 4区社会学

Frontiers-A Journal of Women Studies Pub Date : 2021-05-05 DOI: 10.1353/fro.2021.0010

K. Tift

引用次数: 0

Disarticulated Membranes: Pregnancy, Excess, and Radical Resistance 关节膜破裂：妊娠、过度和自由基抵抗

IF 1.2 4区社会学

Frontiers-A Journal of Women Studies Pub Date : 2021-02-05 DOI: 10.1353/FRO.2020.0034

C. J. Alhadeff

{"title":"Disarticulated Membranes: Pregnancy, Excess, and Radical Resistance","authors":"C. J. Alhadeff","doi":"10.1353/FRO.2020.0034","DOIUrl":"https://doi.org/10.1353/FRO.2020.0034","url":null,"abstract":"Abstract:My color photography is a theater of psychological and physical transformations that reveal a luminescent excess. This excess combines both the civilized and the animal-istic. For my photography series the Gestation Project I choreographed groups of ten to thirty naked pregnant women in San Francisco public spaces such as the zoo, hair salons, bookstores, nightclubs, boxing rings, and empty auditoriums. The women’s pregnant bodies in community render the private explicitly public. While exploring the erasure of public spaces and our potential for reimagining our collective future, my article conjures the fertility of environmental justice within the commons. Juxtaposing bodies / body fragments with organic and synthetic materials and environments, I play with the illusory distinctions between “them” and “us.” By recognizing how vulnerability can engender a humane global culture, ecofeminist strategies for living our principles without self-censorship, we can hold ourselves accountable as the fear of perceived difference becomes more urgent in our technoeuphoric media-saturated age. A cross-cultural, interspecies approach to climate-crisis mitigation integrates individual, community, and infrastructural change. From this visceral commitment, we can cultivate regenerative economic tools for biocultural transformation, integrating rather than competing with our natural environment or isolating ourselves from it.","PeriodicalId":46007,"journal":{"name":"Frontiers-A Journal of Women Studies","volume":"41 1","pages":"192 - 207"},"PeriodicalIF":1.2,"publicationDate":"2021-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/FRO.2020.0034","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49319120","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Editor’s Note Editor’s音符

IF 1.2 4区社会学

Frontiers-A Journal of Women Studies Pub Date : 2021-02-05 DOI: 10.1353/fro.2020.0041

Kimberly M. Jew

引用次数: 0

Winnie in the Attic and the Joys of Feminist Theater: An Artist’s Statement 《阁楼上的温妮和女权主义戏剧的乐趣:一位艺术家的声明》

IF 1.2 4区社会学

Frontiers-A Journal of Women Studies Pub Date : 2021-02-05 DOI: 10.1353/FRO.2020.0033

Domnica Radulescu

{"title":"Winnie in the Attic and the Joys of Feminist Theater: An Artist’s Statement","authors":"Domnica Radulescu","doi":"10.1353/FRO.2020.0033","DOIUrl":"https://doi.org/10.1353/FRO.2020.0033","url":null,"abstract":"Abstract:Emerging from personal experiences with a theater modeled after Jerzy Grotowski’s Poor Theater and a staging of Samuel Beckett’s play Happy Days during the era of the Romanian communist dictatorship of Nicolae Ceausescu, this artist’s statement offers a set of musings about the urgent need for women’s and feminist theater performances and their potential for initiating social change. This artist’s statement further discusses the scarcity of experimental women-created and women-led performances that display a feminist aesthetics in the landscape of American and much of Western European theater. It argues for the imperative need to create such a theater scene that gives voice to feminist and female creativity in the full diversity of its artistic expression and that resists the corporatization of performance, turning it into another object of capitalist consumption. Ultimately, it is by both rediscovering protofeminist performances of the past and imagining a utopian feminist theater future of new ideas crafted into new forms that the dream of full gender parity in the theater can become a reality and women’s voices can have a transformative impact.","PeriodicalId":46007,"journal":{"name":"Frontiers-A Journal of Women Studies","volume":"41 1","pages":"178 - 191"},"PeriodicalIF":1.2,"publicationDate":"2021-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/FRO.2020.0033","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41447196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Chasing Miss Jimenez: Rereading the Chicana Vendida through Colonial Affect-Culture 追逐希门尼斯小姐:通过殖民影响文化重读Chicana Vendida

IF 1.2 4区社会学

Frontiers-A Journal of Women Studies Pub Date : 2021-02-05 DOI: 10.1353/FRO.2020.0036

Lorena Gauthereau

引用次数: 0

“It’s for Now, While We’re Together”: Diana Oh’s Queer Feminist of Color Bridgework at the Ancram Opera House “现在，当我们在一起的时候”:戴安娜·欧的有色人种酷儿女权主义者桥工作在安克雷姆歌剧院

IF 1.2 4区社会学

Frontiers-A Journal of Women Studies Pub Date : 2021-02-05 DOI: 10.1353/FRO.2020.0037

J. N. Pabón-Colón

{"title":"“It’s for Now, While We’re Together”: Diana Oh’s Queer Feminist of Color Bridgework at the Ancram Opera House","authors":"J. N. Pabón-Colón","doi":"10.1353/FRO.2020.0037","DOIUrl":"https://doi.org/10.1353/FRO.2020.0037","url":null,"abstract":"Abstract:With the 1981 publication of their now-canonical anthology This Bridge Called My Back, Gloria Anzaldúa and Cherríe Moraga placed radical women of color center stage to share their experiences of “bridging” communities divided by race, nation, sexuality, gender, and class in testimonio, critical theory, interviews, poetry, and visual art. Almost forty years later, despite the current popularity of Kimberlé Crenshaw’s intersectional feminism, feminists of color continue to bear the weight of bridgework in academia, politics, and the arts. In this essay, Pabón-Colón centers queer Korean American performance artist Diana Oh’s “solo” performance at the Ancram Opera House to examine what staging bridgework does in a performance space occupied by communities situated differently in relation to power, privilege, and oppression. Throughout Oh’s two-hour performance, their wireless headset microphone fell off of their face over a dozen times. Every time the weight of the headset exceeded the tape’s capacity to hold on a sweaty cheek, her “Love Doctors” would retape the headset, and Oh would carry on, inviting us to “hold” her “while we’re together” because now “is all we got.” The determination, patience, and acceptance Oh embodied in managing their unruly headset are read by Pabón-Colón as a testament to the enduring necessity of collective bridgework in building coalitions, even if, and especially when, they do not hold. Pabón-Colón argues that Oh’s performance staged a queer feminist of color future in the now by performing bridgework methodologically determined by care work, agency, and critique grounded in mindful presence.","PeriodicalId":46007,"journal":{"name":"Frontiers-A Journal of Women Studies","volume":"41 1","pages":"29 - 55"},"PeriodicalIF":1.2,"publicationDate":"2021-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/FRO.2020.0037","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66397947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0