"A sensible, humane, clear, direct voice revealing important strengths (Walker) and weaknesses (Drabble, Emecheta) in these novelists' aesthetics concerning femaleness". -- Choice

In the twenty-first century, American popular culture increasingly makes visible the performance of African spirituality by black women. Disney’s Princess and the Frog and Pirates of the Caribbean franchise are two notable examples. The reliance on the black priestess of African-derived religion as an archetype, however, has a much longer history steeped in the colonial othering of Haitian Vodou and American imperialist fantasies about so-called ‘black magic’. Within this cinematic study, Martin unravels how religious autonomy impacts the identity, function, and perception of Africana women in the American popular imagination. Martin interrogates seventy-five years of American film representations of black women engaged in conjure, hoodoo, obeah, or Voodoo to discern what happens when race, gender, and African spirituality collide. She develops the framework of Voodoo aesthetics, or the inscription of African cosmologies on the black female body, as the theoretical lens through which to scrutinize black female religious performance in film. Martin places the genre of film in conversation with black feminist/womanist criticism, offering an interdisciplinary approach to film analysis. Positioning the black priestess as another iteration of Patricia Hill Collins’ notion of controlling images, Martin theorizes whether film functions as a safe space for a racial and gendered embodiment in the performance of African diasporic religion. Approaching the close reading of eight signature films from a black female spectatorship, Martin works chronologically to express the trajectory of the black priestess as cinematic motif over the last century of filmmaking. Conceptually, Martin recalibrates the scholarship on black women and representation by distinctly centering black women as ritual specialists and Black Atlantic spirituality on the silver screen.

Third wave womanism is a new movement within religious studies with deep roots in the tradition of womanist religious thought—while also departing from it in key ways. After a helpful and orienting introduction, this volume gathers essays from established and emerging scholars whose work is among the most lively and innovative scholarship today. The result is a lively conversation in which 'to question is not to disavow; to depart is not necessarily to reject' and where questioning and departing are indications of the productive growth and expansion of an important academic and religious movement.

The second edition of the Handbook of Feminist Research: Theory and Praxis, presents both a theoretical and practical approach to conducting social science research on, for, and about women. The Handbook enables readers to develop an understanding of feminist research by introducing a range of feminist epistemologies, methodologies, and methods that have had a significant impact on feminist research practice and women's studies scholarship. The Handbook continues to provide a set of clearly defined research concepts that are devoid of as much technical language as possible. It continues to engage readers with cutting edge debates in the field as well as the practical applications and issues for those whose research affects social policy and social change. It also expands on the wealth of interdisciplinary understanding of feminist research praxis that is grounded in a tight link between epistemology, methodology and method. The second edition of this Handbook will provide researchers with the tools for excavating subjugated knowledge on women's lives and the lives of other marginalized groups with the goals of empowerment and social change.

Contributions by Cynthia Baron, Elizabeth Binggeli, Kimberly Nichele Brown, Priscilla Layne, Eric Pierson, Charlene Regester, Ellen C. Scott, Tanya L. Shields, and Judith E. Smith Intersecting Aesthetics: Literary Adaptations and Cinematic Representations of Blackness illuminates cultural and material trends that shaped Black film adaptations during the twentieth century. Contributors to this collection reveal how Black literary and filmic texts are sites of negotiation between dominant and resistant perspectives. Their work ultimately explores the effects racial perspectives have on film adaptations and how race-inflected cultural norms have influenced studio and independent film depictions. Several chapters analyze how self-censorship and industry censorship affect Black writing and the adaptations of Black stories in early to mid-twentieth-century America. Using archival material, contributors demonstrate the ways commercial obstacles have led Black writers and white-dominated studios to mask Black experiences. Other chapters document instances in which Black writers and directors navigate cultural norms and material realities to realize their visions in literary works, independent films, and studio productions. Through uncovering patterns in Black film adaptations, Intersecting Aesthetics reveals themes, aesthetic strategies, and cultural dynamics that rightfully belong to accounts of film adaptation. The volume considers travelogue and autobiography sources along with the fiction of Black authors H. G. de Lisser, Richard Wright, Ann Petry, Frank Yerby, and Walter Mosley. Contributors examine independent films The Love Wanga (1936) and The Devil’s Daughter (1939); Melvin Van Peebles's first feature, The Story of a Three Day Pass (1967); and the Senegalese film Karmen Geï (2001). They also explore studio-era films In This Our Life (1942), The Foxes of Harrow (1947), Lydia Bailey (1952), The Golden Hawk (1952), and The Saracen Blade (1954) and post-studio films The Learning Tree (1969), Shaft (1971), Lady Sings the Blues (1972), and Devil in a Blue Dress (1995).

The question is not whether Shakespeare studies needs feminism, but whether feminism needs Shakespeare. This is the explicitly political approach taken in the dynamic and newly updated edition of A Feminist Companion to Shakespeare. Provides the definitive feminist statement on Shakespeare for the 21st century Updates address some of the newest theatrical andcreative engagements with Shakespeare, offering fresh insights into Shakespeare’s plays and poems, and gender dynamics in early modern England Contributors come from across the feminist generations and from various stages in their careers to address what is new in the field in terms of historical and textual discovery Explores issues vital to feminist inquiry, including race, sexuality, the body, queer politics, social economies, religion, and capitalism In addition to highlighting changes, it draws attention to the strong continuities of scholarship in this field over the course of the history of feminist criticism of Shakespeare The previous edition was a recipient of a Choice Outstanding Academic Title award; this second edition maintains its coverage and range, and bringsthe scholarship right up to the present day

Comprehensive in its coverage, The Womanist Reader is the first volume to anthologize the major works of womanist scholarship. Charting the course of womanist theory from its genesis as Alice Walker’s African-American feminism, through Chikwenye Okonjo Ogunyemi’s African womanism and Clenora Hudson-Weems’ Africana womanism, to its present-day expression as a global, anti-oppressionist perspective rooted in the praxis of everyday women of color, this interdisciplinary reader traces the rich and diverse history of a quarter century of womanist thought. Featuring selections from over a dozen disciplines by top womanist scholars from around the world, plus several critiques of womanism, an extensive bibliography of womanist sources, and the first ever systematic treatment of womanist thought on its own terms, Layli Phillips has assembled a unique and groundbreaking compilation.