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从女性黑人说唱音乐中看美国传统文化(Black Female Rappers in American Culture)(4)

时间:2014-03-19 16:21来源:www.szdhsjt.com 作者:yangcheng 点击:
Furthermore, the perspective development of black female rap music would probably enhance this trend that would naturally lead to further exploitation of sexual images that would not improve the gener

吴权彼,恶女当家人间晚晴,亿芭利

Furthermore, the perspective development of black female rap music would probably enhance this trend that would naturally lead to further exploitation of sexual images that would not improve the general image of black females which is now rather negative, according to the current images of black female rappers.
On the other hand, there is still some room for hope to change the negative image of black females would eventually vanish due to the creation of new image of a real black female which has nothing in common that conservative and stereotypical dominant male ideologies tend to promote. Fortunately, this presupposition is not purely hypothetical but, on the contrary, it is quite realisable and the growing number of black female rappers is significant evidence in favour of such a perspective. It is quite logical to presuppose that eventually quantity will be transformed into quantity and instead of the current discourse, black female will focus on such things as morality, females’ rights, freedom of standardised stereotypes and real independence.
 
 
Bibliography:文献参考
 
1. Barrett, S. E. 1990. “Paths toward diversity: An intrapsychic perspective”. In L. S. Brown & M. P. P. Root (Eds.), Diversity and complexity in feminist therapy (pp. 41–52). New York: Harrington Park Press.
2. Burford, M., & Farley, C. J. 1999, August. “Foxy's Dilemma”. Essence Magazine, p.72.
3. Cheney, Charise L. 2005. Brothers Gonna Work It Out, New York and London: New York: University Press.
4. Collins, P. H. 2000. Black Feminist Thought. New York and London: Routledge.
5. Cross, W. E., Parham, T, & Helms, J. 1991. “The stages of Black identity development: Nigrescence models”. In R. Jones (Ed.), Black psychology (pp. 319–338). Berkeley: Cobb & Henry.
6. D'Emilio, J., & Freedman, E. B. 1988. Intimate matters: The history of sexuality in America. New York: Vintage Press.
7. Evans, C. B. 1994. Breaking Free of the Shame Trap. New York: Ballantine.
8. Fife, C. (Ed.) 1993. The colour of resistance. Toronto: Sister Vision Press.
9. Garbarino, J. 1999. Lost Boys. New York: The Free Press.
10. George, N. 1998. Hip Hop America. New York: Viking Penguin.
11. Hip-Hop Divas. 2001. New York: Three Rivers Press.
12. Latifah, Queen. 1989. “Ladies First” All Hail the Queen. Tommy Boy Music.
13. Morgan, J. 2000. When Chickenheads Come Home To Roast. New York: Touchstone.
14. Roberts, Robin. “Ladies First”: Queen Latifah’s Afrocentric Feminist Music Video”, African American Review, Vol.28, pp. 245+.
15. Rose, Tricia. 1994. Black Noise: Rap Music and Black Culture in Contemporary America. Hanover and London: Wesleyan University Press.
16. Souljah, Sister. 1992. 360 Degrees of Power. New York: Sony Music Entertainment.
17. Sexton, A. 1995. Rap on Rap. New York: Bantam.
18. Tatum, B. 1992. “Talking about race, learning about racism: The application of racial identity development theory in the classroom”. Harvard Educational Review, 62, 1–24.
19. Tatum, B. 1993. Racial identity development and relational theory: The case of Black women in White communities. Wellesley, MA: Stone Center for Research on Women.
20. Wallace, M. 1990, July 29. “When Black Feminism Faces the Music and the Music Is Rap”. The New York Times.

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