Robert Vuijsje: 'veel meer zwarte vrouwen'
Sonja heeft een nieuwe reactie op uw bericht "Robert Vuijsje 7" achtergelaten:
Vuisje: "In Amerika, waar veel meer zwarte vrouwen en dus ook meer ontwikkelde zwarte vrouwen zijn, ligt dat anders.”
http://www.nrcboeken.nl/interview/‘ik-ben-eigenlijk-heel-braaf’
Aanrader: Jezebel Stereotype
Enkele citaten:
The portrayal of Black women as lascivious by nature is an enduring stereotype. The descriptive words associated with this stereotype are singular in their focus: seductive, alluring, worldly, beguiling, tempting, and lewd. Historically, White women, as a category, were portrayed as models of self-respect, self-control, and modesty – even sexual purity, but Black women were often portrayed as innately promiscuous, even predatory. This depiction of Black women is signified by the name Jezebel.
The English colonists accepted the Elizabethan image of "the lusty Moor," and used this and similar stereotypes to justify enslaving Blacks. In part, this was accomplished by arguing that Blacks were subhumans: intellectually inferior, culturally stunted, morally underdeveloped, and animal-like sexually. Whites used racist and sexist ideologies to argue that they alone were civilized and rational, whereas Blacks, and other people of color, were barbaric and deserved to be subjugated.7
The Jezebel stereotype was used during slavery as a rationalization for sexual relations between White men and Black women, especially sexual unions involving slavers and slaves. The Jezebel was depicted as a Black woman with an insatiable appetite for sex. She was not satisfied with Black men. The slavery-era Jezebel, it was claimed, desired sexual relations with White men; therefore, White men did not have to rape Black women.
The portrayal of Black women as Jezebel whores began in slavery, extended through the Jim Crow period, and continues today. Although the Mammy caricature was the dominant popular cultural image of Black women from slavery to the 1950s, the depiction of Black women as Jezebels was common in American material culture. Everyday items – such as ashtrays, postcards, sheet music, fishing lures, drinking glasses, and so forth – depicted naked or scantily dressed Black women, lacking modesty and sexual restraint. For example, a metal nutcracker (circa 1930s) depicts a topless Black woman. The nut is placed under her skirt, in her crotch, and crushed.21 Items like this one reflected and shaped White attitudes toward Black female sexuality. An analysis of the Jezebel images in the Jim Crow Museum of Racist Memorabilia reveals several patterns.
(Ferris University, The Jim Crow Museum of Racist Memorabilia)
Interracial sex was also used as a symbol of white male privilege. Sex between black men and white women was punished, for these relations posed a threat to the power and privilege of white men. But sex between white men and black women did not threaten the white power structure, but instead reinforced the domination of white men up through the 1800s. White men had free access to black women, and these relations often involved rape or other forms of violence. Black women were oversexualized in the minds of white men, especially in contrast to white women. White men used this depiction to justify the idealization of the white woman, the degradation of black women, and the privilege awarded to white men, especially in terms of unlimited sexual access. Interracial sex did not challenge the purity of the white race because children born of white fathers and black mothers were demoted to slave status.
(bron)
Enkele citaten:
The portrayal of Black women as lascivious by nature is an enduring stereotype. The descriptive words associated with this stereotype are singular in their focus: seductive, alluring, worldly, beguiling, tempting, and lewd. Historically, White women, as a category, were portrayed as models of self-respect, self-control, and modesty – even sexual purity, but Black women were often portrayed as innately promiscuous, even predatory. This depiction of Black women is signified by the name Jezebel.
The English colonists accepted the Elizabethan image of "the lusty Moor," and used this and similar stereotypes to justify enslaving Blacks. In part, this was accomplished by arguing that Blacks were subhumans: intellectually inferior, culturally stunted, morally underdeveloped, and animal-like sexually. Whites used racist and sexist ideologies to argue that they alone were civilized and rational, whereas Blacks, and other people of color, were barbaric and deserved to be subjugated.7
The Jezebel stereotype was used during slavery as a rationalization for sexual relations between White men and Black women, especially sexual unions involving slavers and slaves. The Jezebel was depicted as a Black woman with an insatiable appetite for sex. She was not satisfied with Black men. The slavery-era Jezebel, it was claimed, desired sexual relations with White men; therefore, White men did not have to rape Black women.
The portrayal of Black women as Jezebel whores began in slavery, extended through the Jim Crow period, and continues today. Although the Mammy caricature was the dominant popular cultural image of Black women from slavery to the 1950s, the depiction of Black women as Jezebels was common in American material culture. Everyday items – such as ashtrays, postcards, sheet music, fishing lures, drinking glasses, and so forth – depicted naked or scantily dressed Black women, lacking modesty and sexual restraint. For example, a metal nutcracker (circa 1930s) depicts a topless Black woman. The nut is placed under her skirt, in her crotch, and crushed.21 Items like this one reflected and shaped White attitudes toward Black female sexuality. An analysis of the Jezebel images in the Jim Crow Museum of Racist Memorabilia reveals several patterns.
(Ferris University, The Jim Crow Museum of Racist Memorabilia)
Interracial sex was also used as a symbol of white male privilege. Sex between black men and white women was punished, for these relations posed a threat to the power and privilege of white men. But sex between white men and black women did not threaten the white power structure, but instead reinforced the domination of white men up through the 1800s. White men had free access to black women, and these relations often involved rape or other forms of violence. Black women were oversexualized in the minds of white men, especially in contrast to white women. White men used this depiction to justify the idealization of the white woman, the degradation of black women, and the privilege awarded to white men, especially in terms of unlimited sexual access. Interracial sex did not challenge the purity of the white race because children born of white fathers and black mothers were demoted to slave status.
(bron)
3 opmerkingen:
En zo kan men voorzien waar brave Hendrik uiteindelijk uit zal komen en dat neuken en genaaid worden niet ver uit elkaar liggen.
anzi
Dit zegt de vriendin van Vuijsje:
"Ik vind het boek prikkelend, confronterend, ik amuseer me enorm", zegt de Surinaamse Lynn Spier, sociotherapeute in een tbs-kliniek én de vriendin van Robert Vuijsje. Zij herkent zich in geen enkele vrouw uit het boek van haar vriend: "Ik ben zwart, ontwikkeld en uniek in mijn soort."
Uniek in mijn soort?
Een soort is een taxonomisch concept waarmee een groep organismen wordt aangeduid die in een aantal belangrijke kenmerken op elkaar lijken. (Wikipedia)
Zij stelt dus dat zij als zwarte vrouw (de soort) uniek is aangezien zij ontwikkeld is? Dat zij afstand neemt van Vuijsje's Jezebels is begrijpelijk. Maar niet dat ze zijn stereotypen niet veroordeeld. Ook al is het allemaal maar 'fictie'. Alsof alles wat 'fictie' is een vrijbrief is om maar de publiceren wat je wil.
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Bounty, switch-hitter en Sherida-ketting
Robert Vuijsje lokt met zijn roman ’Alleen maar nette mensen’ ’koloniaal seksisme’ uit, zei cabaretière Anousha Nzume maandag in ’De wereld draait door’. In het boek presenteert de schrijver drie karikaturen van de zwarte vrouw:
de ’bounty’, die een goede baan en een voorkeur voor witte mannen heeft. Zwarte mannen vindt zij beneden haar niveau.
de ’switch-hitter’ met een gemengde vriendenkring. „Als ze te veel aan blanke mannen is blootgesteld, raakt ze besmet en wordt ze saai”, schrijft Vuijsje
de ’Sherida-ketting’: de zwarte vrouw die uitsluitend met zwarte mensen omgaat. Een ’echte negerin’, met gouden kettingen en dikke billen. En dan ook nog het liefst met hersenen: „Ik zoek de Sherida-ketting die toch een intellectueel is”, aldus hoofdpersoon David in de roman.
http://www.trouw.nl/nieuws/nederland/article2757306.ece
Commentaar op een weblog:
This is quite disheartening for black women world over, and The Netherlands in particular. I'd imagine that, given that the author has a black girlfriend (presumably a "bounty" or maybe not, as then she'd have to be boring) this makes him some kind of expert on black women (because black people are never experts on there own culture and society). And with the book's glowing reviews and critical acclaim, what's the betting that it won't be adapted into a film...?
[Er is inderdaad sprake van een verfilming van het boek door IDTV]
Nog een commentaar:
I'm a black woman from England. I have to say, this book says much more about its author and those that have praised it, than the stereotypes that feature in its story. I think the big revelation here is not the rediculous profiling of the various black women, but simply how little those who hail it as a realistic reflection of multicultural society, have evolved. The book's stereotypes show a primitive understanding on the author's part. There is a reluctance at times to use the words 'primitive' and 'Europe' in the same sentence, but on my infrequent visits to Holland, i can honestly say that the only description for some of the brutal osbscenities that have been shouted at me as i go about ordinary every day life, can only be described as primitive. Feel sorry for the author - he will never have access to the multitude of black women that might dispel his backward ideas - and those women that he has used as muses to support his vision, should continue to keep his company - they deserve each other. In the mean time, the rest of us black women go unscathed from the insulting ideas this book promotes, knowing quite clearly, that we do not fit into any profile that comes from a rigid unenlightened mind and certainly one that lacks the ability to understand any level of complexity. His writing sounds very lazy to me - though i must admit, i will never know, since my preference is for properly researched fiction and literature.
Spier klinkt niet bepaald als een Angela Davis. Het type waarbij zijn jongeheer in onderdanige stand zou blijven. Zij zou, in tegenstelling tot Spier, korte metten maken met hem. Je bent tenslotte black and proud en geen matras. Ik kan het Spier niet kwalijk nemen, weet zij veel. Geheel in lijn dus.
anzi
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