Normal view MARC view ISBD view

Critical Appropriations : African American Women and the Construction of Transnational Identity

By: Drake, Simone C.
Material type: TextTextSeries: Southern Literary Studies: Publisher: Baton Rouge : LSU Press, 2014Description: 1 online resource (201 p.).ISBN: 9780807153888.Subject(s): African diaspora in literature | American literature -- African American authors -- History and criticism | American literature -- Women authors -- History and criticism | Women, Black -- Race identity | Women, Black, in literatureGenre/Form: Electronic books.Additional physical formats: Print version:: Critical Appropriations : African American Women and the Construction of Transnational IdentityDDC classification: 810 Online resources: Click here to access online
Contents:
COVER; CONTENTS; ACKNOWLEDGMENTS; INTRODUCTION; PART ONE: Toward a Critical Gender Consciousness; 1. When Home Is Paradise: Appropriating Acts in Toni Morrison's Paradise; 2. Romanticizing Diaspora and Remembering Zora in Erna Brodber's Louisiana; PART TWO: Popular Culture, Transnational Feminism, and the Limits of Sisterhood; 3. Transnational Sisterhood: Beyoncé and Shakira Sexing the Difference; PART THREE: Third Wave Feminism, Paradigm Shifts, and Black Masculinity; 4. He Said Nothing: Brasilidade and Aphasia in Danzy Senna's Caucasia and Gayl Jones's Corregidora
5. The Sight/Site of Transgression in Eve's BayouEPILOGUE: Loose Your Mother: A Different Route Home; NOTES; WORKS CITED; INDEX; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; R; S; T; U; V; W; Y
Summary: From the novels of Toni Morrison to the music of Beyoncé Knowles, the cultural prevalence of a transnational black identity, as created by African American women, is more than a product of geographic mobility. Rather, as author Simone C. Drake shows, these constructions illuminate our understanding of a chronically marginalized demographic. In Critical Appropriations, Drake contends that these fluid and hetero-geneous characterizations of black females arise from multiple creative outlets -- literature, film, and music videos -- and reflect African Ameri-can women''s evolving concept of home, community, gender, and family.Through a close examination of Toni Morrison''s Paradise, Danzy Senna''s Caucasia, Gayl Jones''s Corregidora, Erna Brodber''s Louisiana, and Kasi Lemmons''s film Eve''s Bayou, as well as Beyoncé Knowles''s B-Day album and music-video collaboration with Shakira, "Beautiful Liar," Drake reveals how concepts of hybridity -- whether positioned as créolité, Candomblé, négritude, Latinidad, or Brasilidade -- are appropriated in each work of art as a way of challenging the homogeneous paradigm of black cultural studies. This redefined notion of identity enables African American women to embrace a more complex, transnational blackness that is not only more liberating but also more pertinent to their experiences. Drawing from this borderless exchange of ideas and a richer concept of self, Critical Appropriations offers a rewarding reconsideration of the creative implications for African American women, mapping new directions in black women''s studies.
Tags from this library: No tags from this library for this title. Log in to add tags.
Item type Current location Call number URL Status Date due Barcode
Electronic Book UT Tyler Online
Online
PS153.N5 D73 2014 (Browse shelf) http://uttyler.eblib.com/patron/FullRecord.aspx?p=1575638 Available EBL1575638

Description based upon print version of record.

COVER; CONTENTS; ACKNOWLEDGMENTS; INTRODUCTION; PART ONE: Toward a Critical Gender Consciousness; 1. When Home Is Paradise: Appropriating Acts in Toni Morrison's Paradise; 2. Romanticizing Diaspora and Remembering Zora in Erna Brodber's Louisiana; PART TWO: Popular Culture, Transnational Feminism, and the Limits of Sisterhood; 3. Transnational Sisterhood: Beyoncé and Shakira Sexing the Difference; PART THREE: Third Wave Feminism, Paradigm Shifts, and Black Masculinity; 4. He Said Nothing: Brasilidade and Aphasia in Danzy Senna's Caucasia and Gayl Jones's Corregidora

5. The Sight/Site of Transgression in Eve's BayouEPILOGUE: Loose Your Mother: A Different Route Home; NOTES; WORKS CITED; INDEX; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; R; S; T; U; V; W; Y

From the novels of Toni Morrison to the music of Beyoncé Knowles, the cultural prevalence of a transnational black identity, as created by African American women, is more than a product of geographic mobility. Rather, as author Simone C. Drake shows, these constructions illuminate our understanding of a chronically marginalized demographic. In Critical Appropriations, Drake contends that these fluid and hetero-geneous characterizations of black females arise from multiple creative outlets -- literature, film, and music videos -- and reflect African Ameri-can women''s evolving concept of home, community, gender, and family.Through a close examination of Toni Morrison''s Paradise, Danzy Senna''s Caucasia, Gayl Jones''s Corregidora, Erna Brodber''s Louisiana, and Kasi Lemmons''s film Eve''s Bayou, as well as Beyoncé Knowles''s B-Day album and music-video collaboration with Shakira, "Beautiful Liar," Drake reveals how concepts of hybridity -- whether positioned as créolité, Candomblé, négritude, Latinidad, or Brasilidade -- are appropriated in each work of art as a way of challenging the homogeneous paradigm of black cultural studies. This redefined notion of identity enables African American women to embrace a more complex, transnational blackness that is not only more liberating but also more pertinent to their experiences. Drawing from this borderless exchange of ideas and a richer concept of self, Critical Appropriations offers a rewarding reconsideration of the creative implications for African American women, mapping new directions in black women''s studies.

Author notes provided by Syndetics

<p>SIMONE C. DRAKE is assistant professor of African American studies at Ohio State University.</p>

There are no comments for this item.

Log in to your account to post a comment.