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The Effects Of Scientific Racism On Black Women Essay, Research Paper

Scientific racism has been used to oppress, enslave and to justify torture. In my essay I will explore how scientific racism has been used to detriment the health of women of colour. Throughout history women of colour have been experimented upon, sexualized and reproductively abused with scientific racism as justification or the underlying premise for the thought behind this abuse. I will explore this idea using examples throughout various periods of history, as well I will show the contemporary effects.

First, I will look at the enslavement of Africans in the New World. During this period women of African descent were raped and abused. They were deemed as sexual beings and were used not only as producers but also as reproducers, to replenish the enslaved population. This latter role was also perpetuated through the rape of enslaved African women by their white slave masters. Thus, the health of these women was negated for the welfare of the plantation system. This system was justified by scientific racism and my essay will show how Europeans came to the conclusion that this was morally permissible. I will also explore how this has affected the idea of motherhood, showing the eurocentric view of African motherhood and contrast this with

Another historical issue I will investigate is the governmentally coerced sterilization of women of colour in North America. I will particularly focus on Native American women, women of African descent and Puerto Rican women. I will look at the historical influence of governmentally funded sterilization from the beginning of the eugenics movement, a movement, which originated through scientific racism, in the nineteenth century to see how this affects women of colour today. I will also investigate the social prejudices and rationalizations for sterilization of the “less-talented” members of society advocated by the most influential social and biological scientists in North American history. These “science”-based eugenic influences break through the lines of science in to the world of politics, promulgating anti-humanistic views of poor women of colour in the form of legislation fraught with bigotry and baseless generalizations. This political view flows through the judicial system, as courts apply eugenic philosophies in determining who should be sterilized and for what reasons.

Black feminists have investigated how rape as a specific form of sexual violence is embedded in a system of interlocking race, gender, and class oppression (Davis 1978, 1981, 1989; Hall 1983). Reproductive rights issues such as access to information on sexuality and birth control, the struggles for abortion rights, and patterns of forced sterilization have also garnered attention

Examining the links between sexuality and power in a system of interlocking race, gender, and class oppression should reveal how important controlling Black women’s sexuality has been to the effective operation of domination overall. The words of Angela Davis, Audre Lorde, Barbara Smith, and Alice Walker provide a promising foundation for a comprehensive Black feminist analysis.

The Sexual Politics Of Black Womanhood

Patricia Hill Collins

Even I found it almost impossible to let her say what had happened to her as she perceived it … And why? Because once you strip away the lie that rape is pleasant, that children are not permanently damaged by sexual pain, that violence done to them is washed away by fear, silence, and time, you are left with the positive horror of the lives of thousands of children … who have been sexually abused and who have never been permitted their own language to tell about it.

– Alice Walker 1988, 57

In The Color Purple Alice Walker creates the character of Celie, a Black adolescent girl who is sexually abused by her stepfather. By writing letters to God and forming supportive relationships with other Black women, Celie finds her own voice, and her voice enables her to transcend the fear and silence of her childhood. By creating Celie and giving her the language to tell of her sexual abuse, Walker adds Celie’s voice to muted yet growing discussions of the sexual politics of Black womanhood in Black feminist thought. Black feminists have investigated how rape as a specific form of sexual violence is embedded in a system of interlocking race, gender, and class oppression (Davis 1978, 1981, 1989; Hall 1983). Reproductive rights issues such as access to information on sexuality and birth control, the struggles for abortion rights, and patterns of forced sterilization have also garnered attention (Davis 1981). Black lesbian feminists have vigorously challenged the basic assumptions and mechanisms of control underlying compulsory heterosexuality and have investigated homophobia’s impact on African-American women (Clarke 1983; Shockley 1983; Barbara Smith 1983; Lorde 1984).

But when it comes to other important issues concerning the sexual politics of Black womanhood, like Alice Walker, Black feminists have found it almost impossible to say what has happened to Black women. In the flood of scholarly and popular writing about Black heterosexual relationships, analyses of domestic violence against African-American women–especially those that link this form of sexual violence to existing gender ideology concerning Black masculinity and Black femininity-remain rare. Theoretical work explaining patterns of Black women’s inclusion in the burgeoning international pornography industry has been similarly neglected. Perhaps the most curious omission has been the virtual silence of the Black feminist community concerning the participation of far too many Black women in prostitution. Ironically, while the image of African-American women as prostitutes has been aggressively challenged, the reality of African-American women who work as prostitutes remains unexplored.

These patterns of inclusion and neglect in Black feminist thought merit investigation. Examining the links between sexuality and power in a system of interlocking race, gender, and class oppression should reveal how important controlling Black women’s sexuality has been to the effective operation of domination overall. The words of Angela Davis, Audre Lorde, Barbara Smith, and Alice Walker provide a promising foundation for a comprehensive Black feminist analysis. But Black feminist analyses of sexual politics must go beyond chronicling how sexuality has been used to oppress. Equally important is the need to reconceptualize sexuality with an eye toward empowering African-American women.

A Working Definition Of Sexual Politics

Sexual politics examines the links between sexuality and power. In defining sexuality it is important to distinguish among sexuality and the related terms, sex and gender (Vance 1984; Andersen 1988). Sex is a biological category attached to the body-humans are born female or male. In contrast, gender is socially constructed. The sex/gender system consists of marking the categories of biological sex with socially constructed gender meanings of masculinity and femininity. Just as sex/gender systems vary from relatively egalitarian systems to sex/gender hierarchies, ideologies of sexuality attached to particular sex/gender systems exhibit similar diversity. Sexuality is socially constructed through the sex/gender system on both the personal level of individual consciousness and interpersonal relationships and the social structural level of social institutions (Foucault 1980). This multilevel sex/gender system reflects the needs of a given historical moment such that social constructions of sexuality change in tandem with changing social conditions.

African-American women inhabit a sex/gender hierarchy in which inequalities of race and social class have been sexualized. Privileged groups define their alleged sexual practices as the mythical norm and label sexual practices and groups who diverge from this norm as deviant and threatening (Lorde 1984; Vance 1984). Maintaining the mythical norm of the financially independent, white middle-class family organized around a monogamous heterosexual couple requires stigmatizing African-American families as being deviant, and a primary source of this assumed deviancy stems from allegations about Black sexuality. This sex/gender hierarchy not only operates on the social structural level but is potentially replicated within each individual. Differences in sexuality thus take on more meaning than just benign sexual variation. Each individual becomes a powerful conduit for social relations of domination whereby individual anxieties, fears, and doubts about sexuality can be annexed by larger systems of oppression (Hoch 1979; Foucault1980, 99).

For centuries the black woman has served as the primary pornographic “outlet” for white men in Europe and America. We need only think of the black women used as breeders, raped for the pleasure and profit of their owners. We need only think of the license the “master” of the slave women enjoyed. But, most telling of all, we need only study the old slave societies of the South to note the sadistic treatment-at the hands of white “gentlemen”-of “beautiful young quadroons and octoroons” who became increasingly (and were deliberately bred to become) indistinguishable from white women, and were the more highly prized as slave mistresses because of this. (Walker 1981, 42)

Alice Walker’s description of the rape of enslaved African women for the “pleasure and profit of their owners” encapsulates several elements of contemporary pornography. First, Black women were used as sex objects for the pleasure of white men. This objectification of African-American women parallels the portrayal of women in pornography as sex objects whose sexuality is available for men (McNall 1983). Exploiting Black women as breeders objectified them as less than human because only animals can be bred against their will. In contemporary pornography women are objectified through being portrayed as pieces of meat, as sexual animals awaiting conquest. Second, African-American women were raped, a form of sexual violence. Violence is typically an implicit or explicit theme in pornography. Moreover, the rape of Black women linked sexuality and violence, another characteristic feature of pornography (Eisenstein 1983). Third, rape and other forms of sexual violence act to strip victims of their will to resist and make them passive and submissive to the will of the rapist. Female passivity, the fact that women have things done to them, is a theme repeated over and over in contemporary pornography (MeNall 1983). Fourth, the profitability of Black women’s sexual exploitation for white “gentlemen” parallels pornography’s financially lucrative benefits for pornographers (Eisenstein 1983). Finally, the actual breeding of “quadroons and octoroons” not only reinforces the themes of Black women’s passivity, objectification, and malleability to male control but reveals pornography’s grounding in racism and sexism. The fates of both Black and white women were intertwined in this breeding process. The ideal African-American woman as a pornographic object was indistinguishable from white women and thus approximated the images of beauty, asexuality, and chastity forced on white women. But inside was a highly sexual whore, a “slave mistress” ready to cater to her owner’s pleasure.2

Contemporary pornography consists of a series of icons or representations that focus the viewer’s attention on the relationship between the portrayed individual and the general qualities ascribed to that class of individuals. Pornographic images are iconographic in that they represent realities in a manner determined by the historical position of the observers, their relationship to their own time, and to the history of the conventions which they employ (Gilman 1985). The treatment of Black women’s bodies in nineteenth-century Europe and the United States may be the foundation upon which contemporary pornography as the representation of women’s objectification, domination, and control is based. Icons about the sexuality of Black women’s bodies emerged in these contexts. Moreover, as race/gender-specific representations, these icons have implications for the treatment of both African-American and white women in contemporary pornography.

I suggest that African-American women were not included in pornography as an afterthought but instead form a key pillar on which contemporary pornography itself rests. As Alice Walker points out, “the more ancient roots of modem pornography are to be found in the almost always pornographic treatment of black women who, from the moment they entered slavery . . . were subjected to rape as the ‘logical’ convergence of sex and violence. Conquest, in short” (1981,42).

One key feature about the treatment of Black women in the nineteenth century was how their bodies were objects of display. In the antebellum American South white men did not have to look at pornographic pictures of women because they could become voyeurs of Black women on the auction block. A chilling example of this objectification of the Black female body is provided by the exhibition, in early nineteenth-century Europe, of Sarah Bartmann, the so-called Hottentot Venus. Her display formed one of the original icons for Black female sexuality. An African women, Sarah Bartmann was often exhibited at fashionable parties in Paris, generally wearing little clothing, to provide entertainment. To her audience she represented deviant sexuality. At the time European audiences thought that Africans had deviant sexual practices and searched for physiological differences, such as enlarged penises and malformed female genitalia, as indications of this deviant sexuality. Sarah Bartmann’s exhibition stimulated these racist and sexist beliefs. After her death in 1815, she was dissected. Her genitalia and buttocks remain on display in Paris (Gilman1985).

Sander Gilman explains the impact that Sarah Bartmann’s exhibition had on Victorian audiences:

It is important to note that Sarah Bartmann was exhibited not to show her genitalia-but rather to present another anomaly which the European audience… found riveting. This was the steatopygia, or protruding buttocks, the other physical characteristic of the Hottentot female which captured the eye of early European travelers…. The figure of Sarah Bartmann was reduced to her sexual parts. The audience which had paid to see her buttocks and had fantasized about the uniqueness of her genitalia when she was alive could, after her death and dissection, examine both. (1985, 213)

In this passage Gilman unwittingly describes how Bartmann was used as a pornographic object similar to how women are represented in contemporary pornography. She was reduced to her sexual parts, and these parts came to represent a dominant icon applied to Black women throughout the nineteenth century. Moreover, the fact that Sarah Bartmann was both African and a woman underscores the importance of gender in maintaining notions of racial purity. In this case Bartmann symbolized Blacks as a “race.” Thus the creation of the icon applied to Black women demonstrates that notions of gender, race, and sexuality were linked in overarching structures of political domination and economic exploitation.

The process illustrated by the pornographic treatment of the bodies of enslaved African women and of women like Sarah Bartmann has developed into a full-scale industry encompassing all women objectified differently by racial/ethnic category. Contemporary portrayals of Black women in pornography represent the continuation of the historical treatment of their actual bodies. African-American women are usually depicted in a situation of bondage and slavery, typically in a submissive posture, and often with two white men. As Bell observes, “this setting reminds us of all the trappings of slavery: chains, whips, neck braces, wrist clasps” (1987, 59). White women and women of color have different pornographic images applied to them. The image of Black women in pornography is almost consistently one featuring them breaking from chains. The image of Asian women in pornography is almost consistently one of being tortured (Bell 1987, 161).

The pornographic treatment of Black women’s bodies challenges the prevailing feminist assumption that since pornography primarily affects white women, racism has been grafted onto pornography. African-American women’s experiences suggest that Black women were not added into a preexisting pornography, but rather that pornography itself must be reconceptualized as an example of the interlocking nature of race, gender, and class oppression. At the heart of both racism and sexism are notions of biological determinism claiming that people of African descent and women possess immutable biological characteristics marking their inferiority to elite white men (Gould 1981; Fausto-Sterling 1989; Halpin 1989). In pornography these racist and sexist beliefs are sexualized. Moreover, for African-American women pornography has not been timeless and universal but was tied to Black women’s experiences with the European colonization of Africa and with American slavery. Pornography emerged within a specific system of social class relationships.

This linking of views of the body, social constructions of race and gender, and conceptualizations of sexuality that inform Black women’s treatment as pornographic objects promises to have significant implications for how we assess contemporary pornography. Moreover, examining how pornography has been central to the race, gender, and class oppression of African-American women offers new routes for understanding the dynamics of power as domination.

Investigating racial patterns in pornography offers one route for such an analysis. Black women have often claimed that images of white women’s sexuality were intertwined with the controlling image of the sexually denigrated Black woman: “In the United States, the fear and fascination of female sexuality was projected onto black women; the passionless lady arose in symbiosis with the primitively sexual slave” (Hall 1983, 333). Comparable linkages exist in pornography (Gardner 1980). Alice Walker provides a fictional account of a Black man’s growing awareness of the different ways that African-American and white women are objectified in pornography: “What he has refused to see-because to see it would reveal yet another area in which he is unable to protector defend black women-is that where white women are depicted in pornography as ‘objects,’ black women are depicted as animals. Where white women are depicted as human bodies if not beings, black women are depicted as *censored*” (Walker 1981, 52).

Walker’s distinction between “objects” and “animals” is crucial in untangling gender, race, and class dynamics in pornography. Within the mind/body, culture/nature, male/female oppositional dichotomies in Western social thought, objects occupy an uncertain interim position. As objects white women become creations of culture-in this case, the mind of white men-using the materials of nature-in this case, uncontrolled female sexuality. In contrast, as animals Black women receive no such redeeming dose of culture and remain open to the type of exploitation visited on nature overall. Race becomes the distinguishing feature in determining the type of objectification women will encounter. Whiteness as symbolic of both civilization and culture is used to separate objects from animals.

The alleged superiority of men to women is not the only hierarchical relationship that has been linked to the putative superiority of the mind to the body. Certain “races” of people have been defined as being more bodylike, more animallike, and less godlike than others (Spelman 1982,52). Race and gender oppression may both revolve around the same axis of distain for the body; both portray the sexuality of subordinate groups as animalistic and therefore deviant. Biological notions of race and gender prevalent in the early nineteenth century which fostered the animalistic icon of Black female sexuality were joined by the appearance of a racist biology incorporating the concept of degeneracy (Foucault 1980). Africans and women were both perceived as embodied entities, and Blacks were seen as degenerate. Fear of and distain for the body thus formed a key element in both sexist and racist thinking (Spelman 1982).

While the sexual and racial dimensions of being treated like an animal are important, the economic foundation underlying this treatment is critical. Animals can be economically exploited, worked, sold, killed, and consumed. As “mules,” African-American women become susceptible to such treatment. The political economy of pornography also merits careful attention. Pornography is pivotal in mediating contradictions in changing societies (McNall 1983). It is no accident that racist biology, religious justifications for slavery and women’s subordination, and other explanations for nineteenth-century racism and sexism arose during a period of profound political and economic change. Symbolic means of domination become particularly important in mediating contradictions in changing political economies. The exhibition of Sarah Bartmann and Black women on the auction block were not benign intellectual exercises-these practices defended real material and political interests. Current transformations in international capitalism require similar ideological justifications. Where does pornography fit in these current transformations? This question awaits a comprehensive Afrocentric feminist analysis.

Publicly exhibiting Black women may have been central to objectifying Black women as animals and to creating the icon of Black women as animals. Yi-Fu Tuan (1984) offers an innovative argument about similarities in efforts to control nature-especially plant life-the domestication of animals, and the domination of certain groups of humans. Tuan suggests that displaying humans alongside animals implies that such humans are more like monkeys and bears than they are like “normal” people. This same juxtaposition leads spectators to view the captive animals in a special way. Animals acquire definitions of being like humans, only more openly carnal and sexual, an aspect of animals that forms a major source of attraction for visitors to modern zoos. In discussing the popularity of monkeys in zoos, Tuan notes: “some visitors are especially attracted by the easy sexual behavior of the monkeys. Voyeurism is forbidden except when applied to subhumans” (1984, 82). Tuan’s analysis suggests that the public display of Sarah Bartmann and of the countless enslaved African women on the auction blocks of the antebellum American South—especially in proximity to animals-fostered their image as animalistic.

This linking of Black women and animals is evident in nineteenth-century scientific literature. The equation of women, Blacks, and animals is revealed in the following description of an African woman published in an 1878 anthropology text:

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