I'm a Radical Black Girl": Black Women Unionists and the Politics of Civil War History

2018 ◽  
Vol 8 (3) ◽  
pp. 359-387
Author(s):  
Thavolia Glymph
Keyword(s):  
Civil War ◽  
Black Women ◽  
Black Girl

scholarly journals Legally a Lady

Contexts ◽  
2019 ◽  
Vol 18 (3) ◽  
pp. 20-25
Author(s):  
Hannah Ingersoll
Keyword(s):  
Civil War ◽  
Black Women ◽  
Jim Crow ◽  
Legal Culture ◽  
Court Cases ◽  
And Gender ◽  
American Society ◽  
The U.S ◽  
Right To Dignity

In a period of ambiguous legal culture between the U.S. Civil War and the legal imposition of Jim Crow, court cases reveal Black women navigating race, class, and gender as they sought a seat in the Ladies’ Car and claimed their right to dignity within American society.

Black, Slave, Woman—The Role of Slave Women in the Ante-bellum South

2015 ◽  
Vol 3 (3) ◽  
pp. 146-154
Author(s):  
Chin Yu Chen
Keyword(s):  
Civil War ◽  
Black Women ◽  
American South ◽  
The United States ◽  
Work And Family ◽  
Antebellum South ◽  
Slave Women ◽  
The Subject ◽  
The American South

There is a famous Chinese proverb which says “a good man never fights with a woman.” From the viewpoint of this Chinese custom, women should always be respected. This maxim certainly was never applied to Black women in the Ante-bellum south of the United States prior to the Civil War. The intent of this paper is to bring to the attention of the reader some of the inhumanity practiced on slave women when they were required to work, without pay, on the plantations in the American South before that country’s Civil War. The women learned quickly to “respect” the “lash” which beat them if they did not do their work properly, or sassed their master. Slavery, at its best, is a terrible institution, and this paper does not address the subject of slavery in other parts of the world. This study is designed to study the plight of Black women, and their struggles, in that time of supposed Southern “gentility.” This study will also attempt to provide an insight into the work and family life of Black women in the era of the Antebellum South.

Black Girl Strong(er)

2015 ◽  
Vol 4 (1) ◽  
pp. 117-120
Author(s):  
Amber Johnson
Keyword(s):  
Black Women ◽  
Black Girl

This autopoetic response to Sweetwater by Robin M. Boylorn offers praise and a critique of resilience as a an answer to adversity. The author argues that resilience is not enough for black women. Black women must be verbs and maintain a level of strength inn order to transform beyond her circumstances.

Freedom's Women: Black Women and Families in Civil War Era Mississippi

2001 ◽  
Vol 87 (4) ◽  
pp. 1505
Author(s):  
Marli F. Weiner ◽  
Noralee Frankel
Keyword(s):  
Civil War ◽  
Black Women ◽  
Civil War Era

scholarly journals From Venus to “Black Venus”: Beyoncé’s I Have Three Hearts, Fashion, and the Limits of Visual Culture

2020 ◽  
Vol 3 (1) ◽  
Author(s):  
Cheryl Thompson
Keyword(s):  
Black Women ◽  
Visual Culture ◽  
Art History ◽  
Historical Context ◽  
West African ◽  
First Century ◽  
Southern Gothic ◽  
Black Girl ◽  
Western Art

In 2016, Lemonade was lauded as “Black girl magic” for the ways the hour-long HBO special (and subsequent album) celebrated Black women and the Southern gothic tradition. It also was the first hint of Beyoncé paying homage to West African Yoruba traditions. At the 2017 Grammys, her performance was both an invocation of the sacred in Western art history and further homage to Yoruba. The performance opened with poetry by Warsan Shire, and snapshots of her daughter, Blue Ivy, but the highlight was Beyoncé’s gold gown, and crown, and gold accessories, all of which symbolized the African goddess Osun. Released just before her Grammys performance, the I Have Three Hearts photo-series circulated as pregnancy images (she was pregnant with twins), but it also functioned as a repository of Beyoncé’s invocation of the sacred in Western culture, as embodied in Venus, and the African goddess, often labelled as “Black Venus.” This article is an examination of three images in the I Have Three Hearts series, taken by Awol Erizku, and the series’ accompanying poetry by Shire. I argue that it raises important questions about the role of visual culture in fashion and popular culture. Is Beyoncé the Venus of the twenty-first century? Does this photographic series remap Western visual culture to reimagine Black womanhood in the discourse on sexuality? Or, it is an example of pastiche in postmodern culture wherein truncated information is authorized, making everyone an expert without the demand for historical context?

scholarly journals BLACK GIRL TRIES KOREAN MAKEUP: RACE, GENDER, AND TRANSNATIONAL PLATFORM

2021 ◽  
Author(s):  
Dasol Kim
Keyword(s):  
Black Women ◽  
Women Of Color ◽  
Black Girls ◽  
Black Girl ◽  
Cultural Conflicts ◽  
Racial Conflict ◽  
Light Skin ◽  
History Of ◽  
Youtube Videos ◽  
And Gender

This study aims to theorize how YouTube fundamentally capitalizes the racial and gender identity of women of color and local culture in a way it facilitates inter-racial and inter-cultural conflicts. I specifically focus on so-called K-beauty (Korean beauty), a catchy trend on YouTube which encompasses aesthetics, cosmetic products, and beauty ideals from South Korea, characterized by pursuing glowing, dewy, and light skin tone featuring a variety of skincare products. K-beauty is now being adopted by non-Koreans in North America including Black women influencers on the borderless platform of YouTube, who created the Black Girl Tries Korean Makeup video series. By using a Critical Technocultural Discourse Analysis approach, I examined YouTube videos, comments, as well as the module titled “Building a Global Channel” to analyze not only the contents and discourses around that but also the platform that might have shaped this intercultural flow on YouTube. Black women YouTubers actively critiqued the light skin preference, as well as anti-Blackness reflected in K-beauty brands through the Black Girls, Tries Korean Makeup video series. Korean viewers, on the other hand, strongly rejected these accusations of the anti-Black aspect of K-beauty, explaining distinctive Korean racial dynamic as a one-ethnic country where the light skin preference is not translated to the anti-Blackness. I argue that this inter-cultural and inter-racial conflict arguably has been shaped by YouTube’s digital infrastructure that prioritizes short, trendy, how-to-style videos, that do not require a lengthy contextualization of each culture’s beauty practices, and history of oppressions.

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