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Journal articles on the topic 'Sarah Baartman/Hottentot Venus'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Bryce, Jane, and Zola Meseko. "The Life and Times of Sarah Baartman, "The Hottentot Venus"." African Studies Review 44, no. 1 (April 2001): 130. http://dx.doi.org/10.2307/525403.

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2

Henderson, Carol E. "AKA: Sarah Baartman, The Hottentot Venus, and Black Women’s Identity." Women's Studies 43, no. 7 (October 2, 2014): 946–59. http://dx.doi.org/10.1080/00497878.2014.938191.

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3

Qureshi, Sadiah. "Displaying Sara Baartman, the ‘Hottentot Venus’." History of Science 42, no. 2 (June 2004): 233–57. http://dx.doi.org/10.1177/007327530404200204.

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4

Mtshali, Mbongeni N. "Hottentot Venus Redux: Nelisiwe Xaba’s Critical Moves of Resistance." TDR/The Drama Review 64, no. 2 (June 2020): 28–37. http://dx.doi.org/10.1162/dram_a_00915.

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In her transdisciplinary work, The Venus (2009), Nelisiwe Xaba reimagines Sara Baartman, the so-called Hottentot Venus, as a cosmopolitical black feminist African figure. Her work disrupts the meanings attached to the colonial spectacle of hypervisible black flesh, as well as the logics that keep these meanings intact in the postcolonial world now.

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5

Derbew, Sarah. "(Re)membering Sara Baartman, Venus, and Aphrodite." Classical Receptions Journal 11, no. 3 (July 1, 2019): 336–54. http://dx.doi.org/10.1093/crj/clz008.

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Abstract This article analyses the Black diasporic reception of Venus in the figure of Sara Baartman, a South African woman who performed under the name ‘Hottentot Venus’ in the early nineteenth century, and her theatrical persona in Suzan-Lori Parks’s play Venus [1990] (1997). Through her sophisticated characterization of Sara Baartman, Parks provides insight into the complex performativity of Black femalehood in conjunction with an overwritten Greco-Roman divinity. Parks’s play presents Sara Baartman as a person who forces her audiences, both theatrical and historical, to contend with their own complicit role in her objectification. More broadly, this cross-cultural dialogue attempts to recuperate the Black female subject from lopsided archives. It also contributes to a larger dismantling of the perceived boundaries between Greco-Roman art, African history, and African American literature.

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6

Gordon, Robert. "The Life and Times of Sara Baartman: The Hottentot Venus:The Life and Times of Sara Baartman: The Hottentot Venus." American Anthropologist 102, no. 3 (September 2000): 606–7. http://dx.doi.org/10.1525/aa.2000.102.3.606.

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7

Gilman, Sander L., Sara Baartman, and Zola Maseko. "The Life and Times of Sara Baartman: The Hottentot Venus." American Historical Review 105, no. 5 (December 2000): 1849. http://dx.doi.org/10.2307/2652212.

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8

Qureshi, Sadiah. "Sara Baartman and the Hottentot Venus: A Ghost Story and Biography." Journal of Imperial and Commonwealth History 37, no. 2 (June 2009): 341–43. http://dx.doi.org/10.1080/03086530903010525.

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9

Kistner, Ulrike. "Sara Baartman and the Hottentot Venus. A Ghost Story and a Biography." African Historical Review 43, no. 2 (November 2011): 110–14. http://dx.doi.org/10.1080/17532523.2011.634123.

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10

Dubow, Saul. "Sara Baartman and the Hottentot Venus. A Ghost Story and a Biography." Slavery & Abolition 31, no. 1 (March 2010): 146–48. http://dx.doi.org/10.1080/01440390903481746.

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11

Moudileno, L. "Returning Remains: Saartjie Baartman, or the "Hottentot Venus" as Transnational Postcolonial Icon." Forum for Modern Language Studies 45, no. 2 (July 16, 2008): 200–212. http://dx.doi.org/10.1093/fmls/cqp005.

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12

Stephenson, Ayshia Elizabeth. "A Co-Performance of Radical Change: Venus Hottentot, Slut Shaming, and Sexual Violence." Qualitative Inquiry 24, no. 3 (May 19, 2017): 170–82. http://dx.doi.org/10.1177/1077800417704466.

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Sara Baartman (“Venus Hottentot”) was a curvaceous South African teenager lured to Europe to perform for audiences in 1810—her genitals and brain posthumously dissected, pickled, and museumized. As researcher and playwright, reflexivity on my power is not enough. I use co-performance as theory and method to unravel my story with Baartman’s to share power and problematize how Western culture shames women for their sexuality. I call upon Anzaldúa and Brody to stand for gender ambiguity and freedom in the world, for binaries of sexual desire are unsustainable and sexual purity impossible because women are sexual beings.

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13

Bush, Barbara. "Sara Baartman and the Hottentot Venus: a ghost story and a biography, 1670–1834." Women's History Review 19, no. 5 (November 2010): 815–17. http://dx.doi.org/10.1080/09612025.2010.531566.

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14

Durbach, Nadja. "Sara Baartman and the Hottentot Venus: A Ghost Story and a Biography (review)." Biography 32, no. 4 (2009): 858–60. http://dx.doi.org/10.1353/bio.0.0132.

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15

Gordon-Chipembere, Natasha. "Clifton Crais and Pamela Scully'sSara Baartman and the Hottentot Venus: A Ghost Story and Biography." Scrutiny2 14, no. 2 (September 2009): 87–89. http://dx.doi.org/10.1080/18125440903461838.

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16

Hobson, Janell. "Sara Baartman and the Hottentot Venus: A Ghost Story and a Biography (review)." Journal of World History 22, no. 2 (2011): 403–5. http://dx.doi.org/10.1353/jwh.2011.0040.

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17

Gray, Stephen. "Sara Baartman and the Hottentot Venus: A Ghost Story and a Biography, by Clifton Crais and Pamela Scully." Research in African Literatures 40, no. 4 (December 2009): 210–12. http://dx.doi.org/10.2979/ral.2009.40.4.210.

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18

Gerzina, G. H. "Sara Baartman and the Hottentot Venus: A Ghost Story and a Biography, by Clifton Crais and Pamela Scully." English Historical Review CXXVI, no. 521 (July 25, 2011): 971–72. http://dx.doi.org/10.1093/ehr/cer223.

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19

HYND, STACEY. "Sara Baartman and the Hottentot Venus: A Ghost Story and a Biography - By Clifton Crais and Pamela Scully." History 95, no. 319 (June 24, 2010): 357. http://dx.doi.org/10.1111/j.1468-229x.2010.00490_4.x.

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20

Salesa. "Sara Baartman and the Hottentot Venus: A Ghost Story and a Biography, by Clifton Crais and Pamela Scully." Victorian Studies 53, no. 2 (2011): 329. http://dx.doi.org/10.2979/victorianstudies.53.2.329.

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21

Mihaylova, Stefka. "The Radical Formalism of Suzan-Lori Parks and Sarah Kane." Theatre Survey 56, no. 2 (May 2015): 213–31. http://dx.doi.org/10.1017/s0040557415000083.

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When Suzan-Lori Parks's play Venus, about the displays of Saartjie Baartman in early nineteenth-century Europe, opened in 1996, the outrage it provoked by suggesting that its central, black character may have been complicit in her plight raised yet again one of the most inspiring and frustrating questions in modern US theatre history: how to stage the racial Other. Even the most sympathetic responses to the play revealed the difficulty of assuming a critical stance toward the racially marked body (especially the black female body) that is affectively fixed as a symbol of martyrdom and victimization. In fact, Shannon Jackson has proposed that the racially marked body's resistance to being reduced to a critical sign, free from affect, may be definitive of race as a social phenomenon. As US theatre history demonstrates, onstage this resistance is highly productive of controversy, much of which has focused on the question of which representational contracts may most accurately convey the experiences of racially marked people. In this sense, art critic Abiola Sinclair's reading of Parks's experimental aesthetic as a traitorous concession to a white theatrical tradition was unexceptional; it was a reminder of the historical efforts of African American artists to create distinctly black art.

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22

Thomas, G. "CLIFTON CRAIS, PAMELA SCULLY. Sara Baartman and the Hottentot Venus: A Ghost Story and a Biography. Princeton: Princeton University Press. 2009. Pp. xiv, 232. $29.95." American Historical Review 115, no. 3 (June 1, 2010): 922–23. http://dx.doi.org/10.1086/ahr.115.3.922-a.

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23

Thomas, Greg. "Clifton Crais and Pamela Scully . Sara Baartman and the Hottentot Venus: A Ghost Story and a Biography . Princeton : Princeton University Press . 2009 . Pp. xiv, 232. $29.95." American Historical Review 115, no. 3 (June 2010): 922–23. http://dx.doi.org/10.1086/ahr.115.3.922a.

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24

Staum, Martin S. "Sara Baartman and the Hottentot Venus: A Ghost Story and a Biography. By Clifton Crais and Pamela Scully. Princeton, NJ: Princeton University Press, 2009. Pp. xvi+232. $29.95." Journal of Modern History 82, no. 2 (June 2010): 439–41. http://dx.doi.org/10.1086/651625.

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25

Romero Ruiz, Maria Isabel. "The Hottentot Venus, freak shows and the Neo-Victorian: Rewriting the identity of the sexual black body." ODISEA. Revista de estudios ingleses, no. 14 (March 20, 2017). http://dx.doi.org/10.25115/odisea.v0i14.262.

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Abstract: The Hottentot Venus was an icon of primitive sexuality and ugliness, but also the victim of commodifi cation and sexual exploitation in the freak shows of the nineteenth century. Similarly, she was the object of medical observation at a time when blackness and otherness were connected with human inferiority. Chase-Riboud wants to contest these notions in her novel The Venus Hottentot (2003) and to retell the story of Sarah Baartman, following the Neo-Victorian trend of rewriting the past and giving voice to the marginalised. She also highlights the presence of these colonial traces of the past in our postcolonial present and claims agency and beauty for black women. Título en español: “La Venus Hottentot, los circos y el Neo-victorianismo: reescritura de la identidad sexual del cuerpo negro”Resumen: La Venus Hottentot fue un icono de la sexualidad primitiva y de la fealdad, pero también fue víctima de la cosifi cación y la explotación sexual en los espectáculos circenses del siglo XIX. Asimismo, fue objeto de observación médica en una época en la que la negritud y la otredad eran relacionadas con la inferioridad humana. Chase-Riboud cuestiona todas estas nociones en su novela The Venus Hottentot (2003) y cuenta la historia de Sarah Baartman, siguiendo la tendencia Neo-victoriana de reescribir el pasado y dar voz a los marginados. También enfatiza la presencia del pasado en nuestro presente postcolonial y reclama agencialidad y belleza para las mujeres negras.

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26

"Sara Baartman and the Hottentot Venus: a ghost story and a biography." Choice Reviews Online 46, no. 10 (June 1, 2009): 46–5767. http://dx.doi.org/10.5860/choice.46-5767.

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27

"The Life and Times of Sara Baartman: The Hottentot Venus. Produced by Mail and Guardian Television (South Africa); written and directed by Zola Maseko. 1998; color; 52 minutes. Distributor: First Run/Icarus Films." American Historical Review, December 2000. http://dx.doi.org/10.1086/ahr/105.5.1849.

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