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Magister Artium - MA / Bettina Wyngaard se misdaadfiksie-trilogie, bestaande uit die romans Vuilspel (2013), Slaafs (2016) en Jagter (2019) het ’n vernuwende uitwerking in die Afrikaanse literatuur gehad. Dit kan hoofsaaklik teruggevoer word na die skrywer se gebruik van ’n (swart) lesbiese protagonis. Wyngaard is ook die eerste swart Afrikaanse vroue-outeur wat haar tot hierdie genre gewend het. Haar misdaadtrilogie toon ’n sentrale bemoeienis met die vroulike subjek se ondergeskikte posisie as deurgaans onderdruk weens verskeie identiteitsaspekte (waaronder ras, gender, klas, seksualiteit, kultuur en nasionaliteit tel). Die simbiotiese verhouding tussen identiteit en mag is dus ’n prominente tematiek in die trilogie. Hierdie bemiddeling tussen identiteit en mag toon raakpunte met die interseksionaliteitsteorie soos voorgestel deur Kimberlé Crenshaw (1989). Sy voer aan dat subjekte onderdruk word deur die tussenspel van identiteitsmerkers en sisteme van onderdrukking wat inherent is daaraan. In hierdie verhandeling word die representasie van die vroulike subjek in Wyngaard se misdaadtrilogie uit ’n interseksionele invalshoek in oënskou geneem. Vanweë die gebruik van literatuur as subjek van analise in hierdie verhandeling, word swart feministiese denkskole oor die letterkunde ingereken as ontledingsinstrumente om Wyngaard se trilogie binne die ruim trajek van swart feministiese fiksie te posisioneer. Terselfdertyd word Wyngaard se subjektiwiteit as swart vroue-outeur krities bekyk omdat sy deur middel van haar tekste verantwoordelik is vir beeldskepping en voorstellings van vroulike subjekte. Aangesien Wyngaard se fiksie dikwels identiteitsaspekte ondervang wat verband hou met haar eie subjektiewe identiteit, sal die wyse bekyk word waarop selfdefiniëring en selfaktualisering in haar trilogie tot stand gebring word.Soos reeds genoem, het Wyngaard grense in die Afrikaanse letterkunde versit deur haar tot misdaadfiksie as genre te wend. As deel van populêre fiksie, staan misdaadfiksie tradisioneel bekend as ’n behoudende genre met ’n resepmatige onderbou wat, só beskou, nie gebruik word om progressiewe argumente in te voer nie. Hierdie aspek van die genre staan dus oënskynlik in kontras met die feministiese aard van Wyngaard se misdaadfiksie-trilogie. In hierdie verhandeling word gevolglik ook die funksionaliteit van genre en die impak daarvan op die beeldskepping van die vroulike subjek bekyk. Maniere waarop Wyngaard gevestigde genrekonvensies oorskry in ’n poging om feministiese benaderings te berde te bring, word in die besonder bestudeer. / South Africa

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This study is focused on the relationship between mothers and their daughters, and the ways in which this relationship serves as a critical site from which black women (specifically from rural Venda area in Northern South Africa) construct their identities. Within the broad framework of qualitative research, this investigation employs a hybrid theoretical model rooted in black feminist epistemology incorporating standpoint feminism, feminist social constructionism, and intersectionality theory. The study draws on 18 interviews with mothers and daughters aged between 35-55 and 18-25 respectively. Using thematic narrative analysis, various themes, i.e. perceptions of femininity, intersectional nodes of femininity, and tensions between normative and counter normative constructions of femininity are explored to showcase shifts and changes in gendered narratives of femininity. The research finds that the multiple and varied ways in which identity is constructed is a complex relational process mediated by various social factors such as class, gender and location; and are consistent with the traditional conception of women as respectful, resilient, „silent‟, and nurturing. Furthermore, findings showed that most mothers played an active role in enforcing patriarchal ideologies of femininity, whereas most daughters actively challenged traditional conceptions of femininity to construct an empowered sense of femininity drawing from their mother‟s own lived experiences. The study further illustrates that the critical triangle of the self, motherhood and social location is a messy one that demands complex and dynamic understanding. This highlighted the need to use socio-cultural and socio-economic frameworks to investigate the multi-layered, complex process of femininity construction for women in rural areas, and how mothers and daughters in interaction with each other can become agents of social change in relation to gender relations. / Dissertation (MSocSci)--University of Pretoria, 2020. / DST-NRF Centre of Excellence in Human Development / Sociology / MSocSci / Unrestricted

White supremacy's impact on Black bodies is well-known. Starting with the enslavement of millions of Africans and their descendants, to Reconstruction, Jim Crow laws, the race-based War on Drugs, mass incarceration, police murders--and now, through fat phobia. Fat phobia--the hatred of and discrimination against fatness--is problematic for all bodies because it limits basic opportunities and privileges. However, it becomes particularly dangerous at the intersection of structural racism and misogyny. Francis Beale argues that as both Black people and women+, Black women+ carry a "double strike" against them; consequently, they experience both racism and misogyny, termed "misogynoir" by Moya Bailey. Language in recent medical publications indicates the severity of fat phobia in America around the Black woman+'s body: fatness is something Black women+ have a "high recidivism rate" with after weight loss (Small). This rhetoric affirms the criminalization of the Black body; fatness is something a Black woman+ has "recidivism" with--a term used almost exclusively for incarcerated people. Thus, the medical community's discourse affirms the"legitimacy" of fat phobia and of fatness' adverse effects on health, inviting discrimination against Black fat bodies. Specifically, it suggests that Black women+ need supervision over their bodies--by white people. This thesis considers the work contemporary Black fat women+ (Sonya Renee Taylor, Sesali Bowen, and Tressie McMillan Cottom) are doing through essays and memoirs against fat phobia; that is, it seeks to amplify their voices as they name, critique, and suggest changes for the institutions that uniquely harm fat Black women+--namely medical racism, beauty, and capitalism. The naming, or making visible, of otherwise-invisible institutions affirms bell hooks' assertion that "groups of women who feel excluded from feminist discourse and praxis can make a place for themselves only if they first create, via critiques, an awareness of the factors that alienate them" (276). Fat phobia perpetuates the narrative that Black women+--especially in larger bodies--are undeserving of love. It posits that women+ are only as valuable as their bodies. But Taylor, Bowen, and Cottom literally rewrite that narrative; instead, these women+ write the fat Black body as inherently worthy and capable of bringing joy--deserving, as we all do, "radical self-love."

This thesis argues that through an examination of the variable market successes of Fashion Fair Cosmetics and Fenty Beauty, racial and gender intersectionality continues to negatively impact the experience of black beauty consumers in the US today. Through influential black feminists, including media theorist bell hooks, and critical race and gender theorists Kimberlee Crenshaw, and Patricia Hill Collins, this paper will discuss how black women historically and presently have been marginalized in relation to the needs and interests of white women. Drawing on the notable anthropologist Soyini Madison’s Critical Ethnography: Method, Ethics, and Performance (2022), I utilize a critical ethnography to analyze how one’s racial and gendered background can affect the relationship between beauty brands and consumers and how this impacts the experience of black and brown women as beauty consumers. This paper will also engage with the rise of historic and contemporary social justice activism and current Diversity, Equity, and Inclusion programs in the wake of Black Lives Matter Movement and the impact that this has had not only on industries but on the experience of black and brown cosmetics consumers. In addition, this paper will note how a speedy and superficial increase in DEI programs across service industries and cosmetics has led to a shallow understanding of the importance of Diversity, Equity, and Inclusion in all spaces. Lastly, I will deploy an autoethnographic approach to discuss how social media has strongly impacted and influenced the industry Fashion Fair is relaunching in. The autoethnography will discuss the social media strategies that drive a successful makeup brand in the contemporary beauty industry and, importantly, how contemporary consumers of color experience the beauty industry. This paper will close by speculating on the manner in which the legacy brand Fashion Fair, might in the current practice of Fenty, sharpen its appeal and engage the kind of social media strategies that will successfully reintroduce the brand to a new generation—and thereby more successfully resume its mission to deliver care to long-alienated beauty consumers in the US. / Media Studies & Production

This thesis investigates possibilities for developing an archiving praxis to help Black trans people live. Inspired by recent Black trans thinking and creativity, the research here centres conversations with five Experts working in a range of academic, artistic, and activist archiving practices. The analysis of these conversations focuses on three areas which guide the investigative chapters, motivations for working with archives, encounters with archives and possibilities for developing a praxis to help us live. The need for this work is shaped by the specificity of blackness and transness in the racial capitalism of the West, the writing is framed by the specificity of producing work at and for Uppsala University whose archives house state records of eugenics and racial science.  Looking to how archives shape bodies and how bodies shape archives, the methodologies guiding this work give space for the writing of this thesis to become an archival experiment. Considering and attending to powers of affect and care shapes this thesis as an embodied exploration, a practice manifesting in the work to further inform the praxis that the thesis investigates. Voices from Black feminist thought, Black cultural theory, queer of colour critique and Black trans cultural production and/as knowledge guide this analysis and offer points of reflection for the conversations with the Experts and my own experiences unfolding in the archive.  The thesis evidences possibilities for developing an archiving praxis to help Black trans people live. The analysis also points to capacious and expansive temporalities for this archival praxis. The thesis concludes that there is a need for more time, more voices and more listening to develop this praxis and further explore possibilities that open up with questioning temporalities. Perhaps that work starts in the space where the conclusion of this thesis, this archive, arrives; starts with asking when does the archive happen.

The intent of this paper is to explore a black feminist perspective within the film horror genre. A black feminist perspective investigates how black women are portrayed within cinematic horror. It serves as a method to further articulate the particularities of race & gender within cinema. If we leave the cinematic space without a structural model of intervention, then we are left with film that remains unchallenged for ostracizing black women. The paper argues that black women become articulated through themes of motherhood, death, and sexuality.

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