1,720,980 research outputs found
This Is Not A Story To Pass On: Examining the Psychic Legacies of Intergenerational Trauma Through Black Women's Literature
No full textThe primary motivation of this thesis is to aid clinicians and academics in identifying the effects of intergenerational trauma upon the Black family system and in developing interdisciplinary and innovative research strategies and clinical interventions which specifically allow Black populations to uncover the roots of their own traumatic cycles. Dually, this thesis investigates the methods through which past/present contemporary social and political institutions of enslavement and incarceration facilitate unspeakable harm onto Black families within the United States, with specific attention to the means through which trauma generated by these institutions (often understood through the various acts, beliefs, and attitudes adopted by Black families over time as a means of survival) is passed on through subsequent generations and reified within familial structures. I understand these traumas and the subsequent reification process as catalysts for self-sustaining traumatic cycles which enact significant harm and distress individually, collectively, economically, and interpersonally. Through the lens of Black women’s literature, this thesis highlights the phenomenon of intergenerational trauma by examining two literary/historical narratives, “Incidents in the Life of a Slave Girl” by Harriet Jacobs and “Sing, Unburied, Sing,” by Jesmyn Ward
This Is Not A Story To Pass On: Examining the Psychic Legacies of Intergenerational Trauma Through Black Women's Literature
No full textThe primary motivation of this thesis is to aid clinicians and academics in identifying the effects of intergenerational trauma upon the Black family system and in developing interdisciplinary and innovative research strategies and clinical interventions which specifically allow Black populations to uncover the roots of their own traumatic cycles. Dually, this thesis investigates the methods through which past/present contemporary social and political institutions of enslavement and incarceration facilitate unspeakable harm onto Black families within the United States, with specific attention to the means through which trauma generated by these institutions (often understood through the various acts, beliefs, and attitudes adopted by Black families over time as a means of survival) is passed on through subsequent generations and reified within familial structures. I understand these traumas and the subsequent reification process as catalysts for self-sustaining traumatic cycles which enact significant harm and distress individually, collectively, economically, and interpersonally. Through the lens of Black women’s literature, this thesis highlights the phenomenon of intergenerational trauma by examining two literary/historical narratives, “Incidents in the Life of a Slave Girl” by Harriet Jacobs and “Sing, Unburied, Sing,” by Jesmyn Ward
Testing Democracy in education: A Comparative Analysis of Shock Therapy in the Privatization of the New Orleans and Chicago Public School Systems
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“sing the song of her possibilities”: The Redefinition of the Figure of the Black Girl During the Black Women’s Literary Renaissance of the 1970’s and 1980’s
No full textTRAUMA, GRIEF, AND HEALING: ANALYZING THE MENTAL HEALTH IMPLICATIONS OF INTIMATE MALE PARTNER DOMESTIC VIOLENCE ON BLACK MOTHERS & SURVIVORS
No full textThis creative thesis explores the intersecting roles of motherhood, selfhood, and survival that Black women must navigate when subjected to intimate male partner domestic violence. These intersecting identities of motherhood and selfhood can often result in self-blame and helplessness. This thesis also assesses the nuanced roles of access, spirituality, and community in providing healing measures for Black mothers yet also debilitating them from seeking help. My goal is to highlight the ways in which Black women playwrights use the theatre as an effective medium for authentically portraying and affirming the experiences of Black women and re-centering the narrative on the survivors. I continue this work through my own play Sweet Mother which follows a Nigerian mother who struggles to overcome domestic violence at the hands of her husband while caring for her three children. Most importantly, it centers on how a Mother's Survival is a Daughter's Inspiration.
Keywords: Black Womanhood, Domestic Violence, Healing, Spirituality, Survivor
playing time/(with) swinging doors: A Critique of Hope and Hopelessness in the Tradition of Black Male Letters
No full textThere She Is: An Exploration of the Black Female Hypervisibility and Invisibility Paradox
No full textWhy aren’t Black women given the benefit of being seen as multi-varied, through multiple lenses, and containing many qualities and traits? How are Black women both hypervisible and invisible in the social spaces they occupy and how does this preclude them from being seen comprehensively? Throughout my thesis paper, I aim to highlight the ways that Black women are hypervisible subjects, which render other parts of themselves invisible. By using a combination of Princeton student interviews and media examples, Black women’s experiences serve as testimony and evidence of the paradoxical experience that impacts Black women in a variety of ways. This thesis aims to put the voices and experiences of Black women forward on their own terms. While all of the women with whom I have engaged are different and share a multitude of experiences, there are similarities based on the stories and experiences they have shared that have allowed me to find patterns, themes, and convergences across their experiences, which allow me to assert that Black women experience a paradoxical relationship in society in which they are placed in hypervisible situations that render them invisible and lead them to act and respond in a variety of ways that either perpetuate their invisibility or that prevent them from being seen comprehensively. In this thesis, I detail how Black women’s hypervisibility/invisibility paradox forces them into a “mold” that requires they act in specific ways to be “accepted” in their environments, places a set of expectations upon them in terms of how they should act, appear, and who they should be, puts their features and their body as the focus, and impacts their sense of belonging and acceptance in space, and how they think about themselves and the ways they come across to their peers
Ballet, Blackness, and Womanhood: Rechoreographing the Classical Through Improvisation to Find Liberation
No full textThe institution of American ballet has a history of systematically excluding Black dancers, especially Black women. Previous scholarship reveals that ballet is not inherently racist, especially considering the often uncredited contributions Black dancers have made to the practice and performance of ballet. Rather, ballet’s Americanization following George Balanchine’s defection to the United States created white supremacist standards and aesthetics. Subjected to stereotypes about their bodies and abilities, Black women are disproportionately barred out of the ballet world and the concert dance world at large, with contemporary dance spaces also using ballet as a means of determining one’s dance ability and potential. My thesis will argue that while ballet as an institution and as a practice has systematically excluded and mistreated Black women, ballet has value to the dance world––in professional dance companies, schools, arts institutions, and as a practice. I will argue that we can locate and salvage ballet’s cultural value and use it as a tool for liberation and joy both in and out of the professional dance world. In my thesis, I theorize more sustainable and generative ways for Black women to participate and excel in ballet by “rechoreographing” ballet. My rechoreography takes the form of a theoretical revision informed by interviews with six early-to-mid career Black women in professional contemporary and contemporary ballet companies. My thesis uses the concept of improvisation to engage with my ethnographic data in order to consider three main ideas in ballet: repertoire, relationship to audience, and technique. I make two major contributions to dance scholarship: (1) a Black ballet practice consisting of improvisational tasks, and (2) a manifesto that reimagines ballet’s possibilities
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