What does it mean for Black women to organize in a political context that has generally ignored them or been unresponsive although Black women have shown themselves an important voting bloc? How for example, does #sayhername translate into a political agenda that manifests itself in specific policies? Shadow Bodies focuses on the positionality of the Black woman’s body, which serves as a springboard for helping us think through political and cultural representations. It does so by asking: How do discursive practices, both speech and silences, support and maintain hegemonic understandings of Black womanhood thereby rendering some Black women as shadow bodies, unseen and unremarked upon? Grounded in Black feminist thought, Julia S. Jordan-Zachery looks at the functioning of scripts ascribed to Black women’s bodies in the framing of HIV/AIDS, domestic abuse, and mental illness and how such functioning renders some bodies invisible in Black politics in general and Black women’s politics specifically.
The control and utilization of urban spaces remains a highly contested issue. Much of the debate centers on issues of economic development versus the maintenance and support of already existing communities. As a number of urban areas are in the throes of gentrification and economic development projects, there is a dearth of information on not only the use of private power in this process, but also the response of the community members. This anthology responds to a growing concern about urban and community development, and the role of corporate power. These essays focus on key themes of land ownership and management, community resistance against corporate agendas, and public discourse over these issues. These themes are presented and developed within an interdisciplinary framework which includes information and commentary about history, contemporary politics, economic development, and ideology. Most of the chapters include case studies that provide concrete examples of contemporary developments in urban areas, and each chapter includes discussion questions and a list of key words and terms to help guide the reader.
Erotic Testimonies draws inspiration from Audre Lorde's "Uses of the Erotic" to explore how Black women access their interiority and use their feelings to engage in processes of self-actualization and make themselves free. Blending genres and resisting the confines of conventional scholarly analysis, Julia S. Jordan-Zachery undertakes what she characterizes as a performative embodied reading of testimonies by four "wild" women from her own life. Jordan-Zachery takes care not to define what constitutes a wild woman—that's been done enough to oppressive ends—but rather tends to these women's forms and means of self-articulation. Complex accounts of wildness, freedom, femininity, the erotic, and the divine emerge from her field notes. Erotic Testimonies attests to the experience of the individual as well as, and even more importantly, how the individual speaks to a broader collective that here includes Lorde, bell hooks, Toni Morrison, Janet Jackson, the author, her grandmother, and many more.
Black Women, Cultural Images and Social Policy offers a critical analysis of the policy-making process. Jordan-Zachery demonstrates how social meanings surrounding the discourses on crime, welfare and family policies produce and reproduce discursive practices that maintain gender and racial hierarchies. Using critical discourse analysis (CDA), she analyzes the values and ideologies ensconced in the various images of black womanhood and their impact on policy formation. This book provides exceptional insight into the racing-gendering process of policy making to show how relations of power and forms of inequality are discursively constructed and impact the lives of African American women.
Erotic Testimonies draws inspiration from Audre Lorde's "Uses of the Erotic" to explore how Black women access their interiority and use their feelings to engage in processes of self-actualization and make themselves free. Blending genres and resisting the confines of conventional scholarly analysis, Julia S. Jordan-Zachery undertakes what she characterizes as a performative embodied reading of testimonies by four "wild" women from her own life. Jordan-Zachery takes care not to define what constitutes a wild woman—that's been done enough to oppressive ends—but rather tends to these women's forms and means of self-articulation. Complex accounts of wildness, freedom, femininity, the erotic, and the divine emerge from her field notes. Erotic Testimonies attests to the experience of the individual as well as, and even more importantly, how the individual speaks to a broader collective that here includes Lorde, bell hooks, Toni Morrison, Janet Jackson, the author, her grandmother, and many more.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Thomas se leva d’un bond et la saisit par les poignets. - Tu es capable de tout, Julia. De jouer la comédie, d’assommer un homme d’une manchette et d’un tas d’autres choses aussi rocambolesques. Mais qui es-tu, bon sang ?
Following Julia Strachey's death, her life-long friend Frances Partridge was presented with an extraordinary assortment of her papers. Combining material from this source and extracts from the correspondence between the two friends, this book presents an account of the life of a remarkable woman.
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