Ar’n’t I a Woman?
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|Author||: Deborah Gray White|
|Editor||: W. W. Norton & Company|
Explores the contributions made by enslaved women to the family's economy and suggests they achieved a greater degree of equality with their men than white women
|Author||: Deborah Gray White|
|Editor||: W. W. Norton & Company|
"This is one of those rare books that quickly became the standard work in its field. Professor White has done justice to the complexity of her subject."—Anne Firor Scott, Duke University Living with the dual burdens of racism and sexism, slave women in the plantation South assumed roles within the family and community that contrasted sharply with traditional female roles in the larger American society. This new edition of Ar'n't I a Woman? reviews and updates the scholarship on slave women and the slave family, exploring new ways of understanding the intersection of race and gender and comparing the myths that stereotyped female slaves with the realities of their lives. Above all, this groundbreaking study shows us how black women experienced freedom in the Reconstruction South — their heroic struggle to gain their rights, hold their families together, resist economic and sexual oppression, and maintain their sense of womanhood against all odds.
|Author||: Sojourner Truth|
|Editor||: Penguin UK|
'I am a woman's rights. I have plowed and reaped and husked and chopped and mowed, and can any man do more than that? I am as strong as any man that is now' A former slave and one of the most powerful orators of her time, Sojourner Truth fought for the equal rights of Black women throughout her life. This selection of her impassioned speeches is accompanied by the words of other inspiring African-American female campaigners from the nineteenth century. One of twenty new books in the bestselling Penguin Great Ideas series. This new selection showcases a diverse list of thinkers who have helped shape our world today, from anarchists to stoics, feminists to prophets, satirists to Zen Buddhists.
|Author||: Catherine Clinton|
Examines the place of women in the daily life of the Southern plantations before the Civil War and analyzes the women's relationship with slaves and their masters
|Author||: Nell Irvin Painter|
|Editor||: W. W. Norton & Company|
A monumental biography of one of the most important black women of the nineteenth century. Sojourner Truth first gained prominence at an 1851 Akron, Ohio, women's rights conference, saying, "Dat man over dar say dat woman needs to be helped into carriages, and lifted over ditches. . . . Nobody eber helps me into carriages, or ober mud-puddles . . . and ar'n't I a woman?" Sojourner Truth: ex-slave and fiery abolitionist, figure of imposing physique, riveting preacher and spellbinding singer who dazzled listeners with her wit and originality. Straight-talking and unsentimental, Truth became a national symbol for strong black women--indeed, for all strong women. Like Harriet Tubman and Frederick Douglass, she is regarded as a radical of immense and enduring influence; yet, unlike them, what is remembered of her consists more of myth than of personality. Now, in a masterful blend of scholarship and sympathetic understanding, eminent black historian Nell Irvin Painter goes beyond the myths, words, and photographs to uncover the life of a complex woman who was born into slavery and died a legend. Inspired by religion, Truth transformed herself from a domestic servant named Isabella into an itinerant pentecostal preacher; her words of empowerment have inspired black women and poor people the world over to this day. As an abolitionist and a feminist, Truth defied the notion that slaves were male and women were white, expounding a fact that still bears repeating: among blacks there are women; among women, there are blacks. No one who heard her speak ever forgot Sojourner Truth, the power and pathos of her voice, and the intelligence of her message. No one who reads Painter's groundbreaking biography will forget this landmark figure and the story of her courageous life.
|Author||: bell hooks|
A classic work of feminist scholarship, Ain't I a Woman has become a must-read for all those interested in the nature of black womanhood. Examining the impact of sexism on black women during slavery, the devaluation of black womanhood, black male sexism, racism among feminists, and the black woman's involvement with feminism, hooks attempts to move us beyond racist and sexist assumptions. The result is nothing short of groundbreaking, giving this book a critical place on every feminist scholar's bookshelf.
|Author||: Deborah Gray White|
|Editor||: W W Norton & Company Incorporated|
Chronicles one hundred years in the struggle of African-American women to attain equality and to establish a resistance to persistent racism, male chauvinism, and negative sterotyping, assessing black women's role in the battle for civil rights and women's rights.
|Author||: Stephanie J. Shaw|
|Editor||: University of Chicago Press|
Stephanie J. Shaw takes us into the inner world of American black professional women during the Jim Crow era. This is a story of struggle and empowerment, of the strength of a group of women who worked against daunting odds to improve the world for themselves and their people. Shaw's remarkable research into the lives of social workers, librarians, nurses, and teachers from the 1870s through the 1950s allows us to hear these women's voices for the first time. The women tell us, in their own words, about their families, their values, their expectations. We learn of the forces and factors that made them exceptional, and of the choices and commitments that made them leaders in their communities. What a Woman Ought to Be and to Do brings to life a world in which African-American families, communities, and schools worked to encourage the self-confidence, individual initiative, and social responsibility of girls. Shaw shows us how, in a society that denied black women full professional status, these girls embraced and in turn defined an ideal of "socially responsible individualism" that balanced private and public sphere responsibilities. A collective portrait of character shaped in the toughest circumstances, this book is more than a study of the socialization of these women as children and the organization of their work as adults. It is also a study of leadership—of how African American communities gave their daughters the power to succeed in and change a hostile world.
|Author||: Catherine M. Lewis,J. Richard Lewis|
|Editor||: University of Arkansas Press|
Women and Slavery offers readers an opportunity to examine the establishment, growth, and evolution of slavery in the United States as it impacted women-enslaved and free, African American and white, wealthy and poor, northern and southern. The primary documents-including newspaper articles, broadsides, cartoons, pamphlets, speeches, photographs, memoirs, and editorials-are organized thematically and represent cultural, political, religious, economic, and social perspectives on this dark and complex period in American history.
|Author||: Deborah Gray White|
|Editor||: Univ of North Carolina Press|
The field of black women's history gained recognition as a legitimate field of study only late in the twentieth century. Collecting stories that are both deeply personal and powerfully political, Telling Histories compiles seventeen personal narratives by leading black women historians at various stages in their careers. Their essays illuminate how--first as graduate students and then as professional historians--they entered and navigated the realm of higher education, a world concerned with and dominated by whites and men. In distinct voices and from different vantage points, the personal histories revealed here also tell the story of the struggle to establish a new scholarly field. Black women, alleged by affirmative-action supporters and opponents to be "twofers," recount how they have confronted racism, sexism, and homophobia on college campuses. They explore how the personal and the political intersect in historical research and writing and in the academy. Organized by the years the contributors earned their Ph.D.'s, these essays follow the black women who entered the field of history during and after the civil rights and black power movements, endured the turbulent 1970s, and opened up the field of black women's history in the 1980s. By comparing the experiences of older and younger generations, this collection makes visible the benefits and drawbacks of the institutionalization of African American and African American women's history. Telling Histories captures the voices of these pioneers, intimately and publicly. Contributors: Elsa Barkley Brown, University of Maryland Mia Bay, Rutgers University Leslie Brown, Washington University in St. Louis Crystal N. Feimster, University of North Carolina at Chapel Hill Sharon Harley, University of Maryland Wanda A. Hendricks, University of South Carolina Darlene Clark Hine, Northwestern University Chana Kai Lee, University of Georgia Jennifer L. Morgan, New York University Nell Irvin Painter, Newark, New Jersey Merline Pitre, Texas Southern University Barbara Ransby, University of Illinois at Chicago Julie Saville, University of Chicago Brenda Elaine Stevenson, University of California, Los Angeles Ula Taylor, University of California, Berkeley Rosalyn Terborg-Penn, Morgan State University Deborah Gray White, Rutgers University
|Author||: Charmaine A. Nelson|
This book offers the first concentrated examination of the representation of the black female subject in Western art through the lenses of race/color and sex/gender. Charmaine A. Nelson poses critical questions about the contexts of production, the problems of representation, the pathways of circulation and the consequences of consumption. She analyzes not only how, where, why and by whom black female subjects have been represented, but also what the social and cultural impacts of the colonial legacy of racialized western representation have been. Nelson also explores and problematizes the issue of the historically privileged white artistic access to black female bodies and the limits of representation for these subjects. This book not only reshapes our understanding of the black female representation in Western Art, but also furthers our knowledge about race and how and why it is (re)defined and (re)mobilized at specific times and places throughout history.
|Author||: Shirley Wilson Logan|
|Editor||: SIU Press|
"O woman, woman! upon you I call; for upon your exertions almost entirely depends whether the rising generation shall be any thing more than we have been or not. O woman, woman! your example is powerful, your influence great."?Maria W. Stewart, "An Address Delivered Before the Afric-American Female Intelligence Society of Boston" (1832) Here?in the only collection of speeches by nineteenth-century African-American women?is the battle of words these brave women waged to address the social ills of their century. While there have been some scattered references to the unique roles these early "race women" played in effecting social change, until now few scholars have considered the rhetorical strategies they adopted to develop their powerful arguments. In this chronological anthology, Shirley Wilson Logan highlights the public addresses of these women, beginning with Maria W. Stewart's speech at Franklin Hall in 1832, believed to be the first delivered to an audience of men and women by an American-born woman. In her speech, she focused on the plight of the Northern free black. Sojourner Truth spoke in 1851 at the Akron, Ohio, Women's Rights Convention not only for the rights of black women but also for the rights of all oppressed nineteenth-century women. Frances Ellen Watkins Harper struggled with the conflict between universal suffrage and suffrage for black men. Anna Julia Cooper chastised her unique audience of black Episcopalian clergy for their failure to continue the tradition of the elevation of womanhood initiated by Christianity and especially for their failure to support the struggling Southern black woman. Ida B. Wells's rhetoric targeted mob violence directed at Southern black men. Her speech was delivered less than a year after her inaugural lecture on this issue?following a personal encounter with mob violence in Memphis. Fannie Barrier Williams and Victoria Earle Matthews advocated social and educational reforms to improve the plight of Southern black women. These speeches?all delivered between 1832 and 1895?are stirring proof that, despite obstacles of race and gender, these women still had the courage to mount the platform in defense of the oppressed. Introductory essays focus on each speaker's life and rhetoric, considering the ways in which these women selected evidence and adapted language to particular occasions, purposes, and audiences in order to persuade. This analysis of the rhetorical contexts and major rhetorical tactics in the speeches aids understanding of both the speeches and the skill of the speakers. A rhetorical timeline serves as a point of reference. Historically grounded, this book provides a black feminist perspective on significant events of the nineteenth century and reveals how black women of that era influenced and were influenced by the social problems they addressed. "A government which can protect and defend its citizens from wrong and outrage and does not is vicious. A government which would do it and cannot is weak; and where human life is insecure through either weakness or viciousness in the administration of law, there must be a lack of justice, and where this is wanting nothing can make up the deficiency."?Frances Ellen Watkins Harper, "Duty to Dependent Races," National Council of Women of the United States, Washington, D.C. (1891)
|Author||: David Barry Gaspar,Darlene Clark Hine|
|Editor||: Indiana University Press|
". . . a much-needed volume on a neglected topic that is of great interest to scholars of women, slavery, and African American history." —Drew Faust Gender was a decisive force in shaping slave society. Slave men's experiences differed from those of slave women, who were exploited both in reproductive as well as productive capacities. The women did not figure prominently in revolts, because they engaged in less confrontational resistance, emphasizing creative struggle to survive dehumanization and abuse. The contributors are Hilary Beckles, Barbara Bush, Cheryl Ann Cody, David Barry Gaspar, David P. Geggus, Virginia Meacham Gould, Mary Karasch, Wilma King, Bernard Moitt, Celia E. Naylor-Ojurongbe, Robert A. Olwell, Claire Robertson, Robert W. Slenes, Susan M. Socolow, Richard H. Steckel, and Brenda E. Stevenson.
|Author||: Marli Frances Weiner|
|Editor||: University of Illinois Press|
Marli Weiner challenges much of the received wisdom on the domestic realm of the nineteenth-century southern plantation--a world in which white mistresses and female slaves labored together to provide food, clothing, and medicines to the larger plantation community. Although divided by race, black and white women were joined by common female experiences and expectations of behavior. Because work and gender affected them as much as race, mistresses and female slaves interacted with one another very differently from the ways they interacted with men. Supported by the women's own words, Weiner offers fresh interpretations of the ideology of domesticity that influenced women's race relations before the Civil War, the gradual manner in which they changed during the war, and the harsher behaviors that resulted during Reconstruction. A volume in the series Women in American History, edited by Anne Firor Scott, Nancy A. Hewitt, and Stephanie Shaw
|Author||: Elizabeth Fox-Genovese|
|Editor||: UNC Press Books|
Documenting the difficult class relations between women slaveholders and slave women, this study shows how class and race as well as gender shaped women's experiences and determined their identities. Drawing upon massive research in diaries, letters, memoirs, and oral histories, the author argues that the lives of antebellum southern women, enslaved and free, differed fundamentally from those of northern women and that it is not possible to understand antebellum southern women by applying models derived from New England sources.
|Author||: Jill Fields|
In 1970, Judy Chicago and fifteen students founded the groundbreaking Feminist Art Program (FAP) at Fresno State. Drawing upon the consciousness-raising techniques of the women's liberation movement, they created shocking new art forms depicting female experiences. Collaborative work and performance art – including the famous "Cunt Cheerleaders" – were program hallmarks. Moving to Los Angeles, the FAP produced the first major feminist art installation, Womanhouse (1972). Augmented by thirty-seven illustrations and color plates, this interdisciplinary collection of essays by artists and scholars, many of whom were eye witnesses to landmark events, relates how feminists produced vibrant bodies of art in Fresno and other locales where similar collaborations flourished. Articles on topics such as African American artists in New York and Los Angeles, San Francisco’s Las Mujeres Muralistas and Asian American Women Artists Association, and exhibitions in Taiwan and Italy showcase the artistic trajectories that destabilized traditional theories and practices and reshaped the art world. An engaging editor’s introduction explains how feminist art emerged within the powerful women’s movement that transformed America. Entering the Picture is an exciting collection about the provocative contributions of feminists to American art.