Contemporary Caribbean Women’s Poetry

Narain, Denise deCaires

doi:10.4324/9780203279588

Cited by 3 publications

(3 citation statements)

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“…(Pollock 1999, 299) With so much metamorphosis already in play, I succumbed to the temptation of representing Medusa as a black man adorned with the hairstyle I had worn for almost thirty years, and whose English name 'dreadlocks' seems to invoke the kind of terror inspired by the serpent-adorned Gorgon. 21 See also Cashmore 1979;White 1983;Johnson 1992;Narain 2004. portrayal that evoked her embodied subjectivity through details that were sympathetic rather than objectifying.…”

Section: Every Surface Ofmentioning

confidence: 99%

Africana Andromeda

Donkor¹

2020

Classicisms in the Black Atlantic

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The Tate’s national collection of British art includes work about the Greek myth of Andromeda who, according to the Roman poet, Ovid, was an Ethiopian princess rescued from death by Perseus. This chapter explores this racialized, gendered narrative and Andromeda’s suppressed African heritage through writing, reading, digital design, painting, photography, and drawing. How do British, Classical, and Black identities interact through art, and how are such processes mediated through a complex history characterized by colonialism and slavery, as well as by independence, struggle, and settlement? Informed by the disruptive spirit of Frantz Fanon, the author’s studio practice responds to Tate artworks, like Henry Fehr’s monumental sculpture, as well as to whiteness in Burne-Jones’ and Turner’s paintings. The author’s own artwork Rescue of Andromeda is proposed as demonstrative of how critical reading and studio methodologies can facilitate new art celebrating ascendant black womanhood, whilst contributing to debates about artistic tradition and popular culture.

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Section: Every Surface Ofmentioning

confidence: 99%

Africana Andromeda

Donkor¹

2020

Classicisms in the Black Atlantic

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“…31,[115][116][117] Although estimates on transfusion-transmitted HIV proved difficult to gather during the early stages of the AIDS epidemic, as many as 25% of HIV-infected children and women in Africa are believed to have acquired HIV from blood transfusions. 124 In Brazilian blood donors, a history of blood transfusion is thought to be the etiology in 15% of HCV-positive cases. 121 Blood transfusions in sub-Saharan Africa rank third among modes of HIV transmission, most notably affecting children under age 5.…”

Section: Transfusion-associated Infectious Risksmentioning

confidence: 99%

Transfusion in Economically Restricted and Developing Countries

Schuetz¹,

Clark²

2007

Blood Banking and Transfusion Medicine

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“…El peligro de la hipervisibilidad que cobra el cuerpo femenino, y no cualquier cuerpo, sino el de una mujer negra, en tanto esencialismo biologicista, ha sido señalado sólo tangencialmente (Scalon, 1998, Welsh, 2007. La presencia de la sexualidad de la mujer y el rol fundamental que Nichols le asigna al cuerpo ha sido leída en clave de "escritura femenina", tomando como marco las teorías de Hélène Cixous, Luce Irigaray, Julia Kristeva (Griffin, 1993;Webhofer, 1996;DeCaires Narain, 2004), visión de la que sólo parece distanciarse abiertamente Welsh (2007), por considerar que conlleva el riesgo de otorgarles a los textos escritos por mujeres afro o afrodescendientes el rol de ser "ejemplos historizados y concretos que demuestren la teoría del feminismo francés" (30).…”

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Metapoética erotizada en Lazy Thoughts of a Lazy Woman, de Grace Nichols

Galettini

2023

El Hilo de la Fabula

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Grace Nichols, poeta guyanesa que reside en el Reino Unido desde 1977, ha recibido especial reconocimiento por sus tres primeras obras: I is a Long-Memoried Woman (1983, ganadora del Commonwealth Poetry Prize), The Fat Black Woman’s Poems (1984) y Lazy Thoughts of a Lazy Woman (1989), en las que la crítica traza una cierta continuidad. Uno de los ejes de análisis centrales ha sido la utilización presente en su obra del erotismo. Así, desde una perspectiva feminista, se la ha alabado y cuestionado por la preponderancia del cuerpo y de la sexualidad en la construcción de sus personas poéticas (Escudero, 2000; Harding, 2007; Scalon, 1998). La presencia de la sexualidad de la mujer y el rol fundamental que Nichols le asigna al cuerpo ha sido leída en clave de «escritura femenina», tomando como marco las teorías de Hélène Cixous, Luce Irigaray, Julia Kristeva (Griffin, 1993; Webhofer, 1996; DeCaires Narain, 2004). El propósito del presente trabajo es dar cuenta de otra perspectiva posible para pensar la presencia del erotismo en la obra de Nichols: como una forma de construir una metapoética en la que sensualidad y creación se funden. El erotismo no sería, entonces un arma que Nichols esgrime en tanto «poelítica» feminista (Chancy, 1997; Bringas López, 2003), sino más bien una declaración sobre cómo comprender el acto creador. Para ello, a partir de la visión de erotismo definida por Georges Bataille (1985, [1957]), el enlace entre lo erótico y lo poético que establece Octavio Paz (1994) y el uso de la sexualidad como fuente creadora que defiende Audre Lorde (1984), analizaremos tres poemas de Lazy Thoughts of a Lazy Woman: «On Poems and Crotches, «My Black Triangle» y «With Apologies to Hamlet».

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Contemporary Caribbean Women’s Poetry

Cited by 3 publications

References 0 publications

Africana Andromeda

Africana Andromeda

Transfusion in Economically Restricted and Developing Countries

Metapoética erotizada en Lazy Thoughts of a Lazy Woman, de Grace Nichols

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