Black Representation, Feminist Criticism, and Authorial Intent

Challenging Norms: Black Women and Divinity

“We are all created in God’s image.” This religious illustration challenges the traditional idea of a white, omnipotent God, instead demonstrating the humanity and majesty of Black women.

Although this image might be striking from a religious perspective, the words of W.E.B. Du Bois in his article regarding the Criteria of Negro Art should be considered: beauty has no universal rules. Similar to women, African Americans have fought for equality for decades. This artwork depicts the polar opposite of the traditionally transmitted image—replacing a white man with a Black woman. Here, a Black woman serves as humanity's cornerstone, presented as a rebellious and revolutionary work of art.

Through this representation, feminism and racial identity gain global cultural significance in opposition to patriarchal, macho, and white-dominated societal structures. The belief that we are made in God's likeness need not exclude women or non-white people. By exposing a contentious aspect of reality, this image disrupts social norms and stands against the oppression of the state and patriarchy.

Mirror Image: Race, Gender, and Self-Perception

“Looking into the mirror, the Black woman asked…” This work powerfully represents a generation concerned with issues of sexual orientation and race. It combines verbal and visual language to portray experiences shaped by racial and gender oppression in American society. Furthermore, it aims to provide Black women with references rooted in African-American culture.

In the image, a Black woman gazes into a mirror. However, the reflection is not her own but perhaps that of a Black fairy godmother figure. Her inability to see her direct reflection suggests a deep social consciousness—an awareness of how society perceives her.

The mirror symbolizes the patriarchal and racist society that divides people by status and race. The text at the bottom of the image can be interpreted as her inner conscience. She recognizes she is not considered a first-class citizen like a white American man; she feels marginalized. As both a woman and Black, she voices the societal pressure and the narrow beauty standards imposed upon her, where Black skin is often not equated with beauty.

Authorial Intent vs. Textual Autonomy

This text critiques interpretations that heavily link a literary work to its author's life. The author discussed here expresses frustration with public discussion connecting her work and personal life. The core idea is that once a work is written, it exists independently; its importance should not solely depend on relating its content to the author's experiences, identity, gender, or status.

This perspective contrasts sharply with Marxist and psychoanalytical critics, who often argue that a work is shaped by the author's personal traits, experiences, social class, and prevailing ideologies. However, the view presented aligns with the principles of New Criticism, which denies the relevance of external influences and focuses solely on the text itself.

Mary Ellmann on Gender and Writing

This section discusses the perspectives of various female authors, focusing initially on Mary Ellmann. Ellmann's feminist literary criticism is characterized by its rejection of determinism; she does not focus on supposed biological differences between men's and women's writing styles. Feminist literary criticism often considers gender a cultural and political construct, not an innate biological destiny.

According to Ellmann, the male voice in literature is often defined by the enduring authority of the patriarchal state. She argues against essentialism (the idea of inherent biological differences in writing) and advocates for the equality of authors based on cultural factors, not biology. Within patriarchal ideology, criticism often maintains distinctions: men are viewed as individuals, while women are treated as a collective.

Ellmann, upon reading Simone de Beauvoir, was reportedly surprised by how 'masculine' her writing seemed, contrasting it with Norman Mailer's reaffirmation of 'feminine' writing stereotypes. This highlights the debate within different schools of thought regarding distinct 'feminine' and 'masculine' writing styles, where men are often associated with a patriarchal, authoritarian style.

Roland Barthes: The Death of the Author

This passage outlines key features of Roland Barthes' concept, The Death of the Author. The central idea is that once an author finishes a work, it no longer belongs to them; the text takes on a life of its own, independent of the author's intentions or identity. The author should not be the primary focus when interpreting the text.

Barthes critiques the traditional critic who attempts to become an indispensable interpreter, positioned between the book and the reader. He argues this often distorts the reading experience. For Barthes, the meaning of a work resides within the text and the reader's interaction with it, not in external factors like the author's biography. This contrasts with critical schools like Marxism and psychoanalysis, which argue that a writer's social class, ideology, and personal history significantly impact their writing.

The concept emphasizes that after creation, the author effectively disappears, and the work stands alone, open to interpretation.

Critical Lenses on "Toas Beef"

(Assuming "Toas Beef" is the intended title) This work is presented as a modern, avant-garde piece that challenges easy comprehension. Its characteristics can be analyzed through various critical schools:

• Feminist Perspective: The work is described as elusive, employing wordplay characteristic of some feminist writing styles. It demonstrates how a woman can write artistically outside patriarchal norms, contributing innovatively to the role of the woman author.
• Marxist Critique: This type of avant-garde writing is seen positively as it potentially opposes the discourse of rigid systems (like the mentioned Leninist system, representing state control), thus challenging the status quo.
• Psychoanalytic View: Psychoanalysts might value such texts for their textual ambiguity, seeing them as expressions of the unconscious. If written in a dream-like state, it suggests a lack of censorship, revealing deeper psychological layers.

In conclusion, this unconventional text is potentially applauded by critical schools that oppose established systems: Feminism (against patriarchy), Marxism (against dominant political/social states and potentially logic itself in avant-garde forms), and Psychoanalysis (exploring the unconscious beyond rational constraints).