000			03908cam a2200493Ii 4500
001			on1137536157
003			OCoLC
005			20240726105131.0
008			200127s2020 gaua ob s001 0 eng d
040			_aNT _beng _erda _epn _cNT _dOCLCO _dEBLCP _dYDXIT _dOCLCQ _dUPM _dUKAHL _dQGJ _dYDX _dSFB _dOCLCF _dSFB
020			_a9780820354330 _q((electronic)l(electronic)ctronic)
043			_ae-fr---
050	0	4	_aDC34 _b.V587 2020
049			_aMAIN
100	1		_aMitchell, Robin, _d1962- _e1
245	1	0	_aVénus noire : _bblack women and colonial fantasies in nineteenth-century France / _cRobin Mitchell.
246	3	0	_aBlack women and colonial fantasies in nineteenth-century France
260			_aAthens, GA : _bThe University of Georgia Press, _c(c)2020.
300			_a1 online resource (xix, 183 pages) : _billustrations
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
490	1		_aRace in the Atlantic world, 1700-1900
504			_a2
505	0	0	_aIntroduction: Black women in the French imaginary -- _tThe tale of three women: the biographies -- _tEntering darkness: colonial anxieties and the cultural production of Sarah Baartmann -- _tOurika mania: cultural consumption of (dis)remembered blackness -- _tJeanne Duval: site of memory -- _tConclusion: Vénus noire.
520	0		_a"Even though there were relatively few people of color in postrevolutionary France, images of and discussions about black women in particular appeared repeatedly in a variety of French cultural sectors and social milieus. In Vénus Noire, Robin Mitchell shows how these literary and visual depictions of black women helped to shape the country's postrevolutionary national identity, particularly in response to the trauma of the French defeat in the Haitian Revolution. Vénus Noire explores the ramifications of this defeat in examining visual and literary representations of three black women who achieved fame in the years that followed. Sarah Baartmann, popularly known as the Hottentot Venus, represented distorted memories of Haiti in the French imagination, and Mitchell shows how her display, treatment, and representation embodied residual anger harbored by the French. Ourika, a young Senegalese girl brought to live in France by the Maréchal Prince de Beauvau, inspired plays, poems, and clothing and jewelry fads, and Mitchell examines how the French appropriated black female identity through these representations while at the same time perpetuating stereotypes of the hypersexual black woman. Finally, Mitchell shows how demonization of Jeanne Duval, longtime lover of the poet Charles Baudelaire, expressed France's need to rid itself of black bodies even as images and discourses about these bodies proliferated. The stories of these women, carefully contextualized by Mitchell and put into dialogue with one another, reveal a blind spot about race in French national identity that persists in the postcolonial present."--Provided by publisher.
530			_a2 _ub
600	1	0	_aBaartman, Sarah.
600	1	0	_aDuval, Jeanne _xIn literature.
650		0	_aWomen, Black _zFrance _xPublic opinion.
650		0	_aWomen, Black, in literature.
650		0	_aWomen, Black, in popular culture _zFrance.
650		0	_aStereotypes (Social psychology) _zFrance _xHistory.
650		0	_aAfrican diaspora.
650		0	_aRacism _zFrance _xHistory.
650		0	_aSexism _zFrance _xHistory.
650		0	_aElectronic books.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2231130&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hDC.. _m2020 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c90105 _d90105
902			_a1 _bCynthia Snell _c1 _dCynthia Snell