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Aantal resultaten: 2( DE:"wit feminisme" )

Artikel

Genderview Glora Wekker: Vaderlandse geschiedenis creëert "Witte onschuld  / Greetje Bijl.

Historica, 46 (2023) 1, p. 22-26
bron: Historica jaargang: 46 (2023) 1 , p. 22-26
samenvatting: Gloria Wekker is emerita hoogleraar Gender en Etniciteit aan de faculteit Geesteswetenschappen van de Universiteit Utrecht. Als sociaal en cultureel antropoloog is ze gespecialiseerd in genderstudies en Caribische studies. Wekker is bekend om haar onderzoek naar seksualiteit, "ras"/etniciteit en intersectioneel denken binnen het feminisme. Samen met Maayke Botman en Nancy Jouwe stelde Wekker in 2001 Caleidoscopische visies: de zwarte, migranten- vluchtelingenvrouwenbeweging in Nederland samen, dat intersectioneel denken in de Nederlandstalige context introduceerde. In haar recentste boek Witte Onschuld: Paradoxen van kolonialisme en ras (2016/2017) ontleedt Wekker koloniale denkpatronen en racisme in Nederland.
onderwerpen:
signatuur: ts. dgb

dgb artikelen
Genderview Glora Wekker: Vaderlandse geschiedenis creëert "Witte onschuld
ts. dgb dgb artikelen
Greetje Bijl.
Historica
46
(2023)
1
22-26
N312238
Artikel

The Trans Woman of Color's History of Sexuality  / Jules Gill-Peterson.

Journal of the History of Sexuality, 32 (2023) 1 (jan), p. 93-98
bron: Journal of the History of Sexuality jaargang: 32 (2023) 1 (jan), p. 93-98
samenvatting: In season 3 of Sex and the City (2000), Samantha moves into a $7,000 a month apartment in New York City's rapidly gentrifying Meatpacking District. In a series of now infamous scenes, she confronts a trio of Black trans women whose sex work in the early hours of the morning is driving her to open hysteria. "I didn't pay a fortune to live in a neighborhood that's trendy by day and tranny by night," Samantha exclaims at brunch. Her first attempt to resolve the issue is to patronize the women by complimenting their looks before asking if they would kindly move to another block. (Narrates Carrie Bradshaw: "Samantha always knew how to get her way with men, even if they were half-women.") But when they return and are loud enough to stall an orgasm with her boyfriend, Samantha opens her bedroom window, screams, "Shut up, you bitches! I called the cops!" and hurls a pot of water onto one of them. "I am a tax-paying citizen and a member of the Young Women's Business Association! I don't have to put up with this!" she rants to herself before launching the liquid projectile. A police car then appears on the street, and Samantha watches, triumphantly, as the Black trans women move on. The episode, as contemporary devotees of the series openly admit, hasn't aged especially well over the past twenty years. When the series was given a sequel, And Just Like That, Kim Cattrall, who played Samantha, chose not to return. But what that temporal marker of not ageing well signifies, I gather, is that the conventions of representing trans people, especially Black trans women, have since traversed the arc of the so-called trans tipping point, where framing racialized trans femininity and sex work as the butts of jokes colludes with actual social death and material vulnerability. What strikes me, albeit perversely, about the "bad object" of Sex and the City twenty years later is how plainly it offers its anti-Black transphobia, by contrast. Samantha's dehumanization of the three women working on her block is unabashedly presented not as the organ of a moral campaign but as her simple race and class status as a gentrifier. She wants the Meatpacking District policed and emptied of Black trans women because she pays a huge sum for her loft apartment. And she wants the privacy of her home to facilitate pleasurable hetero sex with her boyfriend, which requires that it be separate from the public, transactional economy of sex work. There is nothing especially occluded in Samantha's actions; they are defenses of a bourgeois white woman's sexuality through and through. And for that reason, I find them curiously unambiguous compared to the mystified interpretive landscape that typifies the appearance of Black trans women in much of contemporary sexuality studies.
onderwerpen:
signatuur: ts.
The Trans Woman of Color's History of Sexuality
ts.
Jules Gill-Peterson.
Journal of the History of Sexuality
32
(2023)
1
(jan)
93-98
N312329
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( DE:"wit feminisme" )

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