Search Results for victim

... by the beast with a beautiful Black woman’s face. This article argues, instead, that the woman represents violated and polluted Earth, a victim of carnivorous birds, who, in turn, represent the devastating agents of industrial pollution and rampant consumption. This work testifies to the artist’s interest...

...Jeff R. Donaldson Since its beginning in 1969 in Chicago, AfriCOBRA has espoused an Afrocentric aesthetic vision. At the same time, it has deemed demeaning any art that posits African peoples as hapless victims, and therefore it has sought to produce a celebratory art—one that reflects cultural...

... earlier tims. Through these virulent expressions of racial legislation because it refrained from holding individ• hatred, lynchers sought to assert the supremacy of ual participants responsible for mob violence while white rule not only over their victims but also mandating prosecution...

... in the face of shown The barefoot corpse of Laura Nelson. May 25, wrongful death. At the end of class we return to the 1911, Okemah, Oklahoma (1911) because it shows poem, when I ask students if the lynching victims in a well-dressed African American woman hanged the photographs died in vain. I...

... discourse that victim- in 1931 in a letter to the Harmon Foundation that ized and appropriated the tortured body for politi- she had recently finished her “sketch” of Mary Turn- cal goals.5 Instead, Turner’s feminine and maternal er to submit to the Foundation’s annual exhibition form becomes an active...

... Victim. The violent persecution of the Baganda (Nnaggenda's people) during Milton Obote's second regime in Uganda through the mid...

... of the century, a form of bioracism (autochthons vs. non-natives) ap- peared almost everywhere on the continent, politi- cally nurtured by a particular idea of victimization and resentment. As is often the case, the victim s violence was seldom directed at the actual tortur- er. Almost every time, the victim...

.... But the World Wide Web, the infamous "hooded man" another part of the shock of the Abu Ghraib images became the international icon of the anonymous lies in the way they make manifest what was always Arab victim, and England, a white female soldier, repressed by the discourses...

... of Walker has suggested that race does not belong Harlem Renaissance artist Aaron Douglas and his in twenty-­first-­century discourse; that its presence painting An Idyll of the Deep South (1934), with the is bizarre, its history perverse and violent; and that feet of the lynching victim at the top left...

... of black vulnerability; them in popular (or scientific or criminal or porno• white victimization was recast as white terrorization. graphic) derogatory depictions both by countering Though actors and the fundamental story of crimes with their own carefully cultivated self-images...

... by the community's elders for raping one of his pupils. The elders' centers on the chance meeting of the two protagonists: the middle-aged endorsement of the crime only perpetuates the process of seeming victim• teacher and rapist Duma Zamani (Patrick Shai), fatigued and paralyzed by ization already...

... and Ptc. Lynndie R, England Hashing thumbs up behind a pile of their naked victims, was so jarring that for a few seconds I took it for a montage. Mien I registered what I was seeing, I was reminded of something. There was something familiar about that jaunty insouciance, that unabashed triumph...

... so-called objectivity of photo-journalism with a more personal approach that treats his sitters as subjects, rather than as victims...

... offices Manichean binaries of perpetrator and ing, despite its incapacity to relay the across the country, but they were or- victim, hero and villain. Apartheid s minutiae of individuated bravery or dered to be destroyed, alongside piles tenacity, he argues, depended on the suffering, as well as its...

... at viewer, it is easier to look at the mob, which evokes Emory University in Atlanta, because of Allen's outrage, than to look at the lynching victim, which express belief that the photographs should remain in evokes shame and horror. The language used to the South. Twins Palms Press...

... of boundaries using tims. In Trapped - Naples Yellow Mrs. Onuchukwu's Flight to Biafra ence, definitely amplifies this. a mixture of watercolor, pencil and Red Oxide, the victim is com...

... is a shared experience between Angola, Cuba and South Africa: "1 was interested in the possibility of making an archive of the intimate memories and traces of that time. The exhibition is more a dialogue between victims than between winners and losers." What is taken up in the exhibition, with varying...

... is simultaneously to speak of disgust, the overcoming of which is a prerequisite for sexual pleasure. Given the volume of shame, it is no wonder that the pleasures derived by her characters are often Sadistic in nature. Even her victims victim- ize, as is the case with the detail from The End of Uncle Tom...

...  —did Sachs by anew. camera his up pick Mthethwa part in  —inspired art country’s the of reorientation heid postapart the after Only in this. part take not would he victimized; ready al the revictimized images white takes the remains remains the e End...

..., and it was Hassan Musa, Album de famille, 1998,260 x 200 cm. • 106-Nka Journal of Contemporary African Art Le martyr de St. Sebastien (Tryptique), 1999,Textile ink on cloth, 150 x 289 cm. depicted by Gian Bernini, Botticelli, and El Greco, among others. between the victim and killer; if one...