Subtle Resistance: On Sugar and the Mammy Figure in Kara Walker's A Subtlety and Sherley Anne Williams's Dessa Rose

Kennon, Raquel

doi:10.1353/afa.2019.0025

Cited by 2 publications

(2 citation statements)

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“…The turn to post-structural analysis places the emphasis on power and how one can intervene in its dynamics whereby metonymy can be deployed in reproducing and resisting discursive effects. Specifically, it depicts the role of ironic subversion in upending the value judgments that serve to naturalize difference and attempt to demean it by illustrating how metonymy can be overturned toward a reclamation of certain symbols (e.g., the Mammy; Kennon, 2019) or co-option of others (the sugar factory). Last but not the least, it outlines challenges from the reification of "one for all" metonymies, particularly in how they serve to mask diversity and restrain its manifestations.…”

Section: Contribution To Organization Studiesmentioning

confidence: 99%

“…As an artist, Walker is highly sensitized to the unsettling ambiguity of her work, and the range of intense reactions it evokes across various audiences (Kennon, 2019; Sargent, 2017). While striving to resist categorization, she is acutely aware of her implication in coloniality's recursion, not only its disruption.…”

Section: The Second Reading: Disruptions and Recursions Of Colonialitymentioning

confidence: 99%

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Approaching intersectionality through metonymy: Coloniality and recursion at work

Riad

Jones

2022

Gender Work & Organization

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This paper critically engages with intersectionality in an effort to counter its development into a reified ground and grid for examining and articulating difference in organization studies. We theorize intersectionality as frame/work and problematize the work of its frame through the disruptions and recursions of coloniality. We turn to metonymy for the analytical and conceptual possibilities it offers for interrogating intersectionality and examining the dynamics of difference and power. We analyze engagements with Kara Walker's artwork, Sugar Baby, which invite us to think about intersectionality in metonymic terms. We offer a double reading of this work of representation. The first reading outlines (re)productions and ironic subversions of metonymies of work, race, and gender, while the second scrutinizes them and forwards the significance of positionality and provisionality in intersectional work on coloniality.In doing so, we cultivate intersectionality as a critical idea but also submit it to critical analysis. By theorizing intersectionality as frame/work, we counter its metonymic role as proxy for diverse possibilities for engaging with difference and thereby confront its power dynamics. In closing, we outline the contributions to organizational research and contemplate the implications for "doing intersectionality" in organization studies.

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Section: Contribution To Organization Studiesmentioning

confidence: 99%

Section: The Second Reading: Disruptions and Recursions Of Colonialitymentioning

confidence: 99%

Approaching intersectionality through metonymy: Coloniality and recursion at work

Riad

Jones

2022

Gender Work & Organization

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Sugar Time: Reactivating Memories of Scottish Empire through Contemporary Art and Performance

Bond

2023

British Art Studies

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Subtle Resistance: On Sugar and the Mammy Figure in Kara Walker's A Subtlety and Sherley Anne Williams's Dessa Rose

Cited by 2 publications

References 20 publications

Approaching intersectionality through metonymy: Coloniality and recursion at work

Approaching intersectionality through metonymy: Coloniality and recursion at work

Sugar Time: Reactivating Memories of Scottish Empire through Contemporary Art and Performance

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