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Ezili’s Mirrors: Imagining Black Queer Genders, by Omise’eke Natasha Tinsley

机译:ezili的镜子:想象黑色的奇怪性格,由Omise'eke Natasha Tinsley

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“Read this book like a song,” Omise’eke Tinsley exhorts the reader in the firstline of Ezili’s Mirrors. What does it mean to read an academic monograph likea song? Partly, it’s a question of orientation, of letting the text wash over you, ofswaying to its beats and rhythms, of experiencing the writing as a mood ratherthan an argument. For Tinsley, the pantheon of female spirits that comprisethe Haitian spirit Ezili is not an object of study but a point of departure, “anexpansive gathering of the history of gender and sexually nonconforming people of African descent” (p. 4). Building on classic theorizations of Ezili by KarenMcCarthy Brown, Maya Deren, and Colin Dayan, she performs the importantwork of unpacking the spirit’s queer valences and implications, which havebeen noted by scholars but never before discussed at length. The result is agenre-bending feat of writing that mines popular culture and performance foruniquely black theorizations of gender and sexuality, staying true to BarbaraChristian’s maxim that “people of color have always theorized” (cited on p. 5).
机译:“读这本书就像一首歌,”Omise'eke Tinsley劝告Ezili镜子的第一款读者。阅读学术专着Likea歌曲是什么意思?部分地说,这是一个方向问题,让文本清洗到你的节拍和节奏,经历写作作为一种争论的心情。对于TINSLEY,普遍的女性精神的万神殿,包括海地精神ezili并不是一个研究的对象,而是一个偏离的目的,“非洲下降的性别和性行为的人民的历史”(第4页)。在Karenmccarthy Brown,Maya Deren和Colin Dayan的Ezili经典理论建立,她履行了解开精神的酷儿价值和含义的重要作用,其中有学者用学者注意到,但在长度之前从未讨论过。结果是代理人弯曲的展示,矿山流行文化和性能福出的性别和性行为,保持忠于巴巴拉斯蒂安的格言,“颜色人们始终是理论化”(第5页。5)。

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    《New West Indian Guide》 |2019年第4期|共2页
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    Marina Magloire;

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  • 入库时间 2022-08-19 00:21:52

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