Summary of Melissa V. Harris-Perry's Sister Citizen

Everest Media

Description

Please note: This is a companion version & not the original book.
Sample Book Insights:
#1 The struggle many black women face is to figure out which way is up in a crooked room full of warped images of their humanity. Some black women tilt and bend themselves to fit the distortion.
#2 The play, For Colored Girls, was first produced Off-Broadway in 1975. It has sold more than a hundred thousand copies. It is a definitive artistic, visual, and poetic representation of the experience of the crooked room.
#3 The struggle of black women to stand upright in a crooked world is a major theme in Shange’s work. It is not just about victimization, but also about love, passion, exploration, joy, music, and dance.
#4 The women in the focus groups identified three stereotypes of black women: Mammy, Jezebel, and Sapphire. They were either oversexed or asexual, and their roles were to be either promiscuous or asexual.

Sujets

• Sexualité
• sexualité
• Sexualité
• Citizenship
• Civics
• Political Science

Informations

• Publié par: Everest Media LLC
• Date de parution: 10 mai 2022
• Nombre de lectures: 0
• EAN13: 9798822504844
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

Insights on Melissa V. Harris-Perry's Sister Citizen
Contents Insights from Chapter 1 Insights from Chapter 2 Insights from Chapter 3 Insights from Chapter 4 Insights from Chapter 5 Insights from Chapter 6 Insights from Chapter 7 Insights from Chapter 8 Insights from Chapter 9 Insights from Chapter 10 Insights from Chapter 11 Insights from Chapter 12 Insights from Chapter 13 Insights from Chapter 14 Insights from Chapter 15 Insights from Chapter 16
Insights from Chapter 1

#1

The struggle many black women face is to figure out which way is up in a crooked room full of warped images of their humanity. Some black women tilt and bend themselves to fit the distortion.

#2

The play, For Colored Girls, was first produced Off-Broadway in 1975. It has sold more than a hundred thousand copies. It is a definitive artistic, visual, and poetic representation of the experience of the crooked room.

#3

The struggle of black women to stand upright in a crooked world is a major theme in Shange’s work. It is not just about victimization, but also about love, passion, exploration, joy, music, and dance.

#4

The women in the focus groups identified three stereotypes of black women: Mammy, Jezebel, and Sapphire. They were either oversexed or asexual, and their roles were to be either promiscuous or asexual.

#5

The women in my focus groups offered me insight into the recurring stereotypes that influence how others see them: hypersexuality, Mammy, and emasculating anger. They explained how they attempt to stand upright in a room made crooked by these stereotypes.

#6

African American women’s struggle with the slanted images of the crooked room is a problem of recognition. Recognition is a core feature of the relationship between citizens and the state.

#7

The public sphere is the place where people can be recognized for who they are. People are willing to contribute to the public realm because it offers them a chance to be seen and recognized as unique individuals.

#8

The need for privacy creates another dilemma for black women. Because of their history as chattel slaves, their labor market participation as domestic workers, and their role as dependents in a punitive modern welfare state, black women in America live under heightened scrutiny by the state.

#9

The crooked room is a reference to the misrecognition experienced by black women who attempt to participate in the public sphere. While it is true that humans do not have a true self that is either recognized or not, individuals become who they are as a result of being seen.

#10

The recognition framework brings to light the emotional experiences of black women, which are a significant aspect of political understanding.

#11

The country has changed a lot since the Civil War, and while the legal system has changed as well, the fact that a black woman would be required to publicly limp and slur while teaching is still extremely humiliating.

#12

There is a thin but tenacious link between Gallie and Lee. They are both women of relative economic privilege and freedom, who were subjected to public humiliation and physical suffering. The two women are connected across centuries of change by a powerful web of myth that punishes individual black women based on assumptions about the group.

#13

Understanding the connection between black women’s emotional lives and their politics is difficult because emotional experiences are extremely personal. However, there are enough shared identities, beliefs, and experiences to offer insight into African American women as a group.

#14

Black women’s distrust of doctors and hospitals has a rational basis, and it is rooted in the history of medical abuse against them.

#15

There are three common myths about black women in America that affect their emotional lives and political choices: sexual promiscuity, emasculating brashness, and Mammy-like devotion to white domestic concerns.
Insights from Chapter 2

#1

The women of for colored girls also suffer with burdens imposed by misrecognition. These burdens are imposed both by the structural constraints of white racism and by the intimate and often violent restrictions of black sexism.

#2

There are several high-profile moments in the late twentieth century when African American men, accused of sexual assault of a black woman, garnered significant public support among African Americans.

#3

The myth of black women as hypersexual and lascivious is rooted in the Victorian ideal of true womanhood, which white women were allowed to possess while black women were not. It was a way for white moral superiority to be justified.

#4

The myth of black women as hypersexual was used to justify the sexual exploitation of black women in both slavery and freedom. It remained important as a means of racial and gender control in the twentieth century.

#5

The myth of black women’s unrestrained sexuality was used to justify the exploitation of both black women and men.

#6

The act of dissemblance was a tactic used by black women to find the upright in the crooked room, and it allowed them to create positive alternative images of their sexual selves.

#7

Respectability politics is a response to the myth of hypersexuality, and it entails strictly controlled public performances of oneself as a way to counter existing prejudices and gain equal treatment in public life.

#8

The culture of dissemblance may have also affected black women’s politics, as they have not become accustomed to addressing public incidents of intraracial sexual anxiety.

#9

Hip-hop was never a progressive, unbiased space for black women’s sexual liberation, and as the industry grew into a multibillion-dollar, corporate-owned entertainment industry, talented b-girls and emcees became increasingly rare.

#10

Hip-hop has become the dominant form of youth culture in the United States, but its reliance on open and often gratuitous display of black sexuality has initiated moral panic in public discourse.

#11

The myth of the Jezebel can be used to limit the welfare-dependent mother.