Download PDF by Deborah Willis: Black Venus 2010: They Called Her "Hottentot"

By Deborah Willis

As a tender South African girl of approximately twenty, Saartjie Baartman, the so-called 'Hottentot Venus', used to be dropped at London and put on show in 1810. Clad within the Victorian similar of a physique stocking, and paraded in the course of the streets and on level in a cage she turned a human spectacle in London and Paris. Baartman's precise body grew to become the thing of ridicule, interest, medical inquiry, and hope until eventually and after her untimely loss of life. The determine of Sarah Baartman used to be lowered to her sexual components. "Black Venus 2010" lines Baartman's reminiscence in our collective histories, in addition to her symbolic heritage within the development and id of black girls as artists, performers, and icons. The wide-ranging essays, poems, and pictures in "Black Venus 2010" signify probably the most compelling responses to Baartman. every one grapples with the long-lasting legacy of this younger African girl who eternally is still a touchstone for black girls. members comprise: Elizabeth Alexander, Holly Bass, Petrushka A Bazin, William Jelani Cobb, Lisa Gail Collins, Renee Cox, J. Yolande Daniels, Carole Boyce Davies, Leon de Wailly, Manthia Diawara, Diana Ferrus, Cheryl Finley, Nikky Finney, Kianga okay. Ford, Terri Francis, Sander Gilman, Renee eco-friendly, pleasure Gregory, Lyle Ashton Harris, Michael D. Harris, Linda Susan Jackson, Kellie Jones, Roshini Kempadoo, Simone Leigh, Zine Magubane, E. Ethelbert Miller, Robin Mitchell, Charmaine Nelson, Tracey Rose, Radcliffe Roye, Bernadette Searle, Lorna Simpson, Debra S. Singer, Penny Siopis, Hank Willis Thomas, Kara Walker, Michele Wallace, Carla Williams, Carrie Mae Weems, J. T. Zealy, and the editor.

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New PDF release: Black Venus 2010: They Called Her "Hottentot"

As a tender South African lady of approximately twenty, Saartjie Baartman, the so-called 'Hottentot Venus', was once dropped at London and put on show in 1810. Clad within the Victorian similar of a physique stocking, and paraded throughout the streets and on degree in a cage she grew to become a human spectacle in London and Paris.

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P. Rebeyrol, “Baudelaire et Manet,” Les temps modernes 5 (1949): 707–725. 5. Georges Bataille, Manet, trans. A. Wainhouse and James Emmons (New York: Skira, 1956), 13. 6. Edmund Bazire’s 1884 view of Nana is cited by Anne Coffin Hanson, Manet and the Modern Tradition (New Haven: Yale University Press, 1977), 130. 7. See my On Blackness without Blacks: Essays on the Image of the Black in Germany (Boston: G. K. Hall, 1982). , L’image du noir dans l’art occidental (Paris: Bibliothèque des Arts, 1976–).

50. Reff, Manet: Olympia, 57–58, also 118. 51. See Auriant, La véritable histoire de “Nana” (Paris: Mercure de France, 1942). , Changing Images of the Family (New Haven: Yale University Press, 1978), 155–172; and Robert A. Nye, Crime, Madness, and Politics in Modern France: The Medical Concept of National Decline (Princeton, NJ: Princeton University Press, 1984). 52. All the quotations are from Charles Duff’s translation of Nana (London: Heineman, 1953), here, 27. The position described by Zola mirrors Manet’s image of Nana.

Panckoucke, 1819), 35:398–403. 15. J. J. Virey, Histoire naturelle du genre humain (Paris: Crochard, 1824), 2:151. My translation. 16. George M. Gould and Walter L. Pyle, Anomalies and Curiosities of Medicine (Philadelphia: W. B. Saunders, 1901), 307; and Eugen Holländer, Äskulap und Venus: Eine Kultur- und Sittengeschichte im Spiegel des Arztes (Berlin: Propyläen, 1928). Much material on the indebtedness of the early pathologists to the reports of travelers to Africa can be found in the accounts of the autopsies presented below.

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