Womanist Ethics and the Cultural Production of Evil (Black by Emilie M. Townes

By Emilie M. Townes

This groundbreaking booklet offers an analytical instrument to appreciate how and why evil works on the earth because it does. Deconstructing reminiscence, background, and fable as bought knowledge, the quantity severely examines racism, sexism, poverty, and stereotypes.

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6 The image is, in short, a prime example of the history of dominant culture resorting to denigrating myths to maintain the status quo. The Mammy is a myth that has taken on reality and then moved on to become a stereotype. Her construction is a response to abolitionist claims that slave owners sexually exploited their female slaves, especially the light-skinned ones. Mammy is constructed as an ugly antidote to such charges. After all, who would abuse a desexualized, fat, old Black woman when the only other morally viable alternative was the idealized White woman?

It only creates an austere marginal space that can lull many of us into a false but oh-so-deadly consciousness that contours our imaginations. I also nuance Gramsci’s basic understanding of hegemony as ideological domination that is moral, political, and cultural and is transmitted by language. In breaking with economistic versions of Marxism that emphasize economic factors as the major cause of change, Gramsci argues that dominant groups secure the consent of subordinate groups to their rule by persuasion and coercion—and force, if necessary.

If we relied on the popular “historical” accounts, we are often led to believe that Mammies existed in legion. However, Catherine Clinton’s exhaustive study, The Plantation Mistress: Woman’s World in the Old South, shows that only a handful of women actually fit the Mammy image. The Mammy was created by white Southerners to redeem the relationship between black women and white men within slave society in response to the antislavery attack from the North during the antebellum era, and to embellish it with nostalgia in the post-bellum period.

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