Papers by Daniele Amatori
This study examines the process of sexual objectification of Afro-American women in rap music, an... more This study examines the process of sexual objectification of Afro-American women in rap music, and its social impact.
Via Fredrickson’s objectification theory, I illustrate how misogynistic videos and lyrics reduce women to mere objects for men’s ownership, use and abuse. I will also focus on the origins of Hip-Hop movement, its growth and development, stressing the importance of the cultural roots of racial discrimination. In order to address this topic, I will mainly refer to Murray Forman and Mark Neal’s book That’s the Joint.
Although Forman and Neal do a very good job in addressing hip-hop’s origins and evolution, giving an important contribute to the subject, That’s The Joint fail at covering women’s objectification lineage. Thus, to better understand how in the US negatives prejudices have led to stereotypy black culture and consequently sexualize coloured women, I will turn to Afro-American slave narratives especially Clifton Crais and Pamela Scully’s Sara Baartman and the Hottentot Venus and Harriet Jacobs’s Incidents in the Life of a Slave Girl.
Using Gwendolyn Pough’s Check It While I Wreck It, I therefore illustrate how slaves used literature to claim back their own femininity, how this process has contributed to hip-hop culture, and how it has changed it. I will try, thus, to make a comparison between past and present texts and cultures.
A short introduction to the legacy of African-American’s language will illustrate some peculiar aspect of misogynist lyrics in rap music. This will lead me to the analysis of phenomena like female exposure and sexploitation in rap music and videos. I will go on to analyse how hip-hop original message of change and progress has been assimilated and successively altered in culture industry. I will illustrate how the massive commercialization of hip-hop has affected white society imaginary. I will analyse both rap videos and lyrics so as to understand the reasons of exaggerate misogyny, also trying to understand why female rappers have accepted and endorsed their own objectification.
Video distribution in the mainstream market has dehumanized coloured women, turning them into hypersexual objects easily accessible to man. Drawing on Sut Jhally’s documentary Dreamworlds 3, I will focus on the social impact of persistent exposure to misogynous objectification on American women and men.
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Papers by Daniele Amatori
Via Fredrickson’s objectification theory, I illustrate how misogynistic videos and lyrics reduce women to mere objects for men’s ownership, use and abuse. I will also focus on the origins of Hip-Hop movement, its growth and development, stressing the importance of the cultural roots of racial discrimination. In order to address this topic, I will mainly refer to Murray Forman and Mark Neal’s book That’s the Joint.
Although Forman and Neal do a very good job in addressing hip-hop’s origins and evolution, giving an important contribute to the subject, That’s The Joint fail at covering women’s objectification lineage. Thus, to better understand how in the US negatives prejudices have led to stereotypy black culture and consequently sexualize coloured women, I will turn to Afro-American slave narratives especially Clifton Crais and Pamela Scully’s Sara Baartman and the Hottentot Venus and Harriet Jacobs’s Incidents in the Life of a Slave Girl.
Using Gwendolyn Pough’s Check It While I Wreck It, I therefore illustrate how slaves used literature to claim back their own femininity, how this process has contributed to hip-hop culture, and how it has changed it. I will try, thus, to make a comparison between past and present texts and cultures.
A short introduction to the legacy of African-American’s language will illustrate some peculiar aspect of misogynist lyrics in rap music. This will lead me to the analysis of phenomena like female exposure and sexploitation in rap music and videos. I will go on to analyse how hip-hop original message of change and progress has been assimilated and successively altered in culture industry. I will illustrate how the massive commercialization of hip-hop has affected white society imaginary. I will analyse both rap videos and lyrics so as to understand the reasons of exaggerate misogyny, also trying to understand why female rappers have accepted and endorsed their own objectification.
Video distribution in the mainstream market has dehumanized coloured women, turning them into hypersexual objects easily accessible to man. Drawing on Sut Jhally’s documentary Dreamworlds 3, I will focus on the social impact of persistent exposure to misogynous objectification on American women and men.
Via Fredrickson’s objectification theory, I illustrate how misogynistic videos and lyrics reduce women to mere objects for men’s ownership, use and abuse. I will also focus on the origins of Hip-Hop movement, its growth and development, stressing the importance of the cultural roots of racial discrimination. In order to address this topic, I will mainly refer to Murray Forman and Mark Neal’s book That’s the Joint.
Although Forman and Neal do a very good job in addressing hip-hop’s origins and evolution, giving an important contribute to the subject, That’s The Joint fail at covering women’s objectification lineage. Thus, to better understand how in the US negatives prejudices have led to stereotypy black culture and consequently sexualize coloured women, I will turn to Afro-American slave narratives especially Clifton Crais and Pamela Scully’s Sara Baartman and the Hottentot Venus and Harriet Jacobs’s Incidents in the Life of a Slave Girl.
Using Gwendolyn Pough’s Check It While I Wreck It, I therefore illustrate how slaves used literature to claim back their own femininity, how this process has contributed to hip-hop culture, and how it has changed it. I will try, thus, to make a comparison between past and present texts and cultures.
A short introduction to the legacy of African-American’s language will illustrate some peculiar aspect of misogynist lyrics in rap music. This will lead me to the analysis of phenomena like female exposure and sexploitation in rap music and videos. I will go on to analyse how hip-hop original message of change and progress has been assimilated and successively altered in culture industry. I will illustrate how the massive commercialization of hip-hop has affected white society imaginary. I will analyse both rap videos and lyrics so as to understand the reasons of exaggerate misogyny, also trying to understand why female rappers have accepted and endorsed their own objectification.
Video distribution in the mainstream market has dehumanized coloured women, turning them into hypersexual objects easily accessible to man. Drawing on Sut Jhally’s documentary Dreamworlds 3, I will focus on the social impact of persistent exposure to misogynous objectification on American women and men.