{"id":1893,"date":"2022-07-12T10:46:18","date_gmt":"2022-07-12T10:46:18","guid":{"rendered":"https:\/\/particip-action.com\/?p=1893"},"modified":"2025-05-12T10:50:16","modified_gmt":"2025-05-12T10:50:16","slug":"sex-race-and-gender-healing-the-cleft-body-in-parkss-venus","status":"publish","type":"post","link":"https:\/\/particip-action.com\/?p=1893","title":{"rendered":"SEX, RACE, AND GENDER: HEALING THE CLEFT BODY IN PARKS\u2019S VENUS"},"content":{"rendered":"<p style=\"text-align: justify;\"><span style=\"text-decoration: underline;\"><strong><span style=\"font-size: 10pt; font-family: georgia, palatino, serif;\">Abstract<\/span><\/strong><\/span><br \/>\n<span style=\"font-size: 10pt; font-family: georgia, palatino, serif;\">Sex, race, and gender remain topical issues in African American drama. Several playwrights have assessed their definitions, interconnections and mainstream ideas which mostly conflict individual perceptions. Likewise, S. Parks\u2019s Venus (1996) re-interrogates this conflicting relationship through a physical portrayal of the heroine. Her enormous posterior arouses curiosity, love, hate, sexual appetite, libidinal, and voyeuristic regards among the audience. Because of these differences, she becomes a prey of social pressure. The objective of this study is to show how the playwright counterbalances the traditional paradigms by redefining the terms in order to reconstruct the dismembered woman. In light of J-F. Lyotard\u2019s understanding of postmodernism, this article asserts that knowledge legitimacy is not the appanage of the socially privileged minority. It is the consequence of inclusive discourses between the elite and the marginalized citizens.<\/span><br \/>\n<span style=\"font-size: 10pt; font-family: georgia, palatino, serif;\">Keywords: sex, race, gender, postmodernism, female representation<\/span><br \/>\n<span style=\"text-decoration: underline;\"><strong><span style=\"font-size: 10pt; font-family: georgia, palatino, serif;\">R\u00e9sum\u00e9<\/span><\/strong><\/span><br \/>\n<span style=\"font-size: 10pt; font-family: georgia, palatino, serif;\">Le sexe, la race, et le genre restent des sujets d\u2019actualit\u00e9 dans la<\/span><br \/>\n<span style=\"font-size: 10pt; font-family: georgia, palatino, serif;\">litt\u00e9rature africaine am\u00e9ricaine. Plusieurs dramaturges ont abord\u00e9 leurs d\u00e9finitions, interrelations et la tendance g\u00e9n\u00e9rale qui s\u2019opposent \u00e0 la perception individuelle. Dans cette optique, S. Parks, dans Venus (1996), s\u2019interroge sur cette relation conflictuelle \u00e0 travers le portrait physique de l\u2019h\u00e9ro\u00efne. Son \u00e9norme post\u00e9rieur suscite la curiosit\u00e9, l\u2019amour, la haine, l\u2019app\u00e9tit sexuel, des regards voyeuristes chez le public. Ainsi elle est devenue une proie de la pression sociale. L\u2019objectif de cette \u00e9tude est de montrer comment la dramaturge contrebalance les paradigmes traditionnels en red\u00e9finissant les termes afin de reconstruire l\u2019image d\u00e9figur\u00e9e de la femme. \u00c0 la lumi\u00e8re de la th\u00e9orie postmoderniste de J-F. Lyotard, cet article souligne que la l\u00e9gitimit\u00e9 de la connaissance n\u2019est pas l\u2019apanage de la minorit\u00e9 privil\u00e9gi\u00e9e. Elle est la cons\u00e9quence des discussions inclusives entre l\u2019\u00e9lite et les citoyens marginalis\u00e9s.<\/span><br \/>\n<span style=\"font-size: 10pt; font-family: georgia, palatino, serif;\">Mots-cl\u00e9s : sexe, race, genre, postmodernisme repr\u00e9sentation f\u00e9minine<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Abstract Sex, race, and gender remain topical issues in African American drama. Several playwrights have assessed their definitions, interconnections and mainstream ideas which mostly conflict individual perceptions. Likewise, S. Parks\u2019s Venus (1996) re-interrogates this conflicting relationship through a physical portrayal of the heroine. Her enormous posterior arouses curiosity, love, hate, sexual appetite, libidinal, and voyeuristic [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":501,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"saved_in_kubio":false,"footnotes":""},"categories":[28],"tags":[],"class_list":["post-1893","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-a-r"],"_links":{"self":[{"href":"https:\/\/particip-action.com\/index.php?rest_route=\/wp\/v2\/posts\/1893","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/particip-action.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/particip-action.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/particip-action.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/particip-action.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1893"}],"version-history":[{"count":1,"href":"https:\/\/particip-action.com\/index.php?rest_route=\/wp\/v2\/posts\/1893\/revisions"}],"predecessor-version":[{"id":1898,"href":"https:\/\/particip-action.com\/index.php?rest_route=\/wp\/v2\/posts\/1893\/revisions\/1898"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/particip-action.com\/index.php?rest_route=\/wp\/v2\/media\/501"}],"wp:attachment":[{"href":"https:\/\/particip-action.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1893"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/particip-action.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1893"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/particip-action.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1893"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}