9/25/2023 0 Comments Educational anaconda lyrics![]() Three articles deal with feminist epistemic habits of de/constructing dualisms. In Vuola’s text the critique becomes ‘cure’, ‘correcting’ or reconstructing versions of a particular theoretical development. Elina Vuola also on her part engages in a re-reading of academic feminism, but from a very different point of view compared to Lykke: Vuola discusses the epistemic habit of exclusion within academic feminism focusing on religious feminisms. With a personal and autobiographical account, Nina Lykke’s article concentrates on dis/identification, ‘cruel optimism’ and everyday utopianism as instances of feminist epistemic habits, but also as structuring themes for feminist thought. The next two articles give historical interpretations on the formation of feminist epistemologies. Mortensen focuses on the question of mood and does this from the viewpoint of affirmative affective thinking, paying attention especially to the notion of mood within Deleuzian affect theory. This special issue opens with an article by Ellen Mortensen assessing Rita Felski’s (2015) account of critique and her alternative postcritical position. Nicki Minaj successfully unsettles the narrative of male control over women’s bodies in the hip- hop music video, thus securing a space of empowerment for women within the hip-hop community. Using queer theory, established by Judith Butler, the author argues that Minaj’s over-performance of exaggerated signifiers of femininity, referred to as ‘hyperfemininity,’ brings awareness to the socially constructed nature of gender. This dissertation provides semiotic analysis of two of Nicki Minaj’s songs, “The Boys” (2012), and “Anaconda” (2014) to exemplify Minaj’s engagement with feminist discourse from the second and third wave. Instead, the author argues that Nicki Minaj successfully embodies empowerment and femininity simultaneously. ![]() ![]() Reflecting on Simone de Beauvoir’s The Second Sex, the author challenges second wave feminism’s anti-feminine sentiment, suggesting instead that in an age of postmodernity, the reductionist equation of femininity to passivity is no longer sustainable. As the most successful female rapper of her time, Minaj challenges the stereotype of male domination in the hip-hop music industry. This dissertation explores the methods in which gender performativity can interact with and subvert the expectations of the hip-hop artist through an analysis of rapper Nicki Minaj. Anaconda and Formation can be seen to answer each these critiques respectively, when seen connected to and employing strategies of Black feminist theories of pleasure, queer of color critique, and Black feminist politics of coalition among marginalised subjects. The key question then becomes: how do Anaconda and Formation participate in, re-imagine and work as Black feminist thought, understood as complex and dynamic? The article outlines three main critiques directed at the videos: selling out to white people and capitalism promotion of white, heteronormative body ideals while appropriating queer of color culture and involvement in so-called 'reverse oppression'. Collins suggests that in order to challenge traditional forms of white male knowledge production, other forms of expression than academic writing should also be considered theory. Instead, the two music videos are considered as creative works of Black feminist thought, following Patricia Hill Collins (2009). ![]() The article argues that the epistemic habit of asking this question often works counterproductively and stabilises the boundaries of feminism. The article examines two recent music videos by Black female artists, Nicki Minaj's Anaconda (2014) and Beyoncé's Formation (2016), and the heated online discussions around them about whether they are feminist or not.
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